#us skating classic 2018

[yuzurujenn]

[2024.05.11] Quardruple Axel May Issue: Shinya Kiyozuka – A One-of-a-Kind Performer

Shinya Kiyozuka, who performed the exhibition number "Haru yo, Koi" and the competition program "Introduction and Rondo Capriccioso," is a close friend of Hanyu's. He was involved in the performance and arrangement of the music used in "RE_PRAY". From the perspective of a musician active in a wide range of fields, we asked him to talk about Hanyu's greatness as a performer. - Interview and text by Tatsuya Murao

Q: Kiyozuka participated in this Ice Story "RE_PRAY" by playing piano and arranging music. I heard that three songs were newly recorded, but how did you get the request?

A: It was because Hanyu-san said, "I'm going to do this kind of show (so I'd like you to do it)." By the time he contacted me, he already had a blueprint in mind, or rather, a plan of "I want to do something like this", and he gave me a fairly specific request to create an arrangement like this, so I went ahead with it. Q: "Introduction and Rondo Capriccioso" was re-performed in a longer version, right?

A: Yes, that's right. I thought it would be weird to just combine the previous part (with the new recording). I could have just extended it, but it was Hanyu's performance, and I wanted to reflect what I was thinking and feeling, and how I feel about him, so I went ahead and re-recorded it all. Q: It must have taken quite a long time to re-perform and record it, didn't it?

A: We were indeed pressed for time, so we had to complete everything quickly and precisely within the limited timeframe. Since we started collaborating on "Haru yo, koi," (in Fantasy on Ice 2018) I’ve become very attuned to Hanyu’s thoughts and understand more clearly what he wants to convey during our conversations. Additionally, as good friends, our professional collaboration has become more enduring, and our mutual understanding has deepened. It's similar to making a movie, but often, when we try to describe the shows or music we want to create in words, it falls short. Conversely... Q: You get pulled in by the words.

A: Exactly. It gradually deviates. When people try to describe something that doesn’t exist yet and can’t be described, this back-and-forth struggle can have the opposite effect—the more you try to explain, the more likely you are to produce something incorrect. Language is inherently judgmental and inadequate for expressing things that don’t exist. In the end, it’s about understanding what the other person actually wants to say and considering what lies behind their words. This is very important. In this regard, it’s about fate and how well two people can understand each other, which is crucial.

After all, we’ve been through many stages together since "Haru yo, Koi" and have produced numerous programs together. Communication is key; although meeting in person is very difficult, we often have long video calls late into the night. These interactions have enhanced our communication, made our interactions less constrained, and deepened our mutual understanding. He even described me as a “good friend”. So, this time, we didn’t spend any extra time on the work. When we worked on “Haru yo, Koi," we spent a lot of effort, but this time, we quickly completed the extended version of the Rondo.

Q:  This time too, Hanyu thought a lot about the overall concept. Did you find the concept itself easier to understand?

A: Since what Hanyu wants to achieve is inherently very philosophical, it could be said that there are aspects that shouldn’t be completely understood. I think this is why what he does feels more like art than sports. Even though Hanyu-san may have a clear answer in his mind, he often says that “the reason why piano performances and classical music fit well with figure skating is that they ultimately don’t state things explicitly.” Q: It’s up to the viewers to judge.

A: Yes. It's a very abstract and spontaneous expression, so I think the overall concept is like that. And I think Hanyu has that freedom of thinking, "It's fine if the audience takes it this way." Q: Considering that you imagined the overall concept yourself and had to adjust the new arrangements to fit in, it must have been difficult to think about various things, right?

A: Yes, but Hanyu-san had pretty much solidified the overall concept from the beginning. Almost everything, or rather, all the plots for the performances that I eventually saw (in the show) were there from the beginning. For the other programs as well, Hanyu-san had a very clear idea of how my arrangements would fit in. Because he communicated this to me, I had no doubts about it. Also, with his transition to a professional career and everything, I think Hanyu's skill in conveying these concepts to others has greatly improved. Compared to when we worked on "Haru yo, koi" he has likely put a lot of thought into how to communicate with others, and, knowing him, he has worked incredibly hard to expand his vocabulary and improve his communication skills. Q: While arranging, were there any moments of hesitation like, "This part should be a bit..."?

A: No. For the most part, I had an idea that it "should be done like this" so I just pushed forward towards that. "Messenger of Ruin" was a band arrangement, so I incorporated the sounds of other bands, played the bass on a synthesizer myself, and told the guitarist what kind of guitar playing I wanted him to do. With more parts compared to just using a piano, it took a bit more time in that regard. But, yes, we rented a top-class grand piano, a Yamaha CFX, used a top-class studio, and we called in top-class engineers, tuners, and musicians to record, so of course we could only record locally on that day and at that time. I also explained to Hanyu-san that we were approaching this as a "one-time-only" situation. So, it had to be finalized by that point. It was a gamble, but I believed that only top professionals could match the level required for Hanyu’s stage. I approached it with confidence, and in the end, he was very pleased with the final piece. Q: I think you must have enjoyed the once-in-a-lifetime experience, even though it was time-consuming and difficult.

A: Yes, there is a thrill to it. Also, as for "Messenger of Ruin," it is based on the game "Final Fantasy." Nobuo Uematsu is a world-famous composer whom both Hanyu and I respect. Both Hanyu and I love the game "Final Fantasy." We both play it, and we debate what we think about it. That's how passionate we are about it, so even as a game fan, I don't want to just mess with the song as I please. After all, if someone messes with something you like, you’ll think, "What the heck?" So I don't want to change the song completely just because it's Hanyu's stage. After all, there has to be respect for the game and for Uematsu.

On the other hand, the most difficult part of game music is that it is always looping (repeating). There is no “end” point, so you have to add new parts.  Also, the length of the program that Hanyu-san had in mind had to be twice as long as the original “Messenger of Ruin”. Looping the same thing twice would have left the audience unsatisfied, so how do you develop it without destroying the worldview? And since it’s a performance, it has to build up towards the end. So, half of the music was reproduced with the band as it was in the original, and the other half was my own creation. So, I hope that Uematsu-san will be satisfied with that, and I hope that “Final Fantasy” fans will be satisfied with it too. I wanted to create something exciting that would suit this stage. It was very difficult to gather all of these elements. Q: What were your impressions after seeing the Yokohama performance?

A: It's been a long time since I've had goosebumps. Also, after this was over, I told Hanyu-san directly that I was really worried he might collapse. From the initial planning stage, I was more worried about him than about my music, and when he said, "I'm thinking of doing something like this," I said, "You've got to be kidding me." "Can you really do that? A human being?" First of all, he's trying to do something difficult just by doing a one-man (solo show), and then after all those performances, this "Messenger of Ruin" comes. I was worried, like, "Isn't that just a dream?" or "Can one person do that with their physical strength?" So, when he managed to do it, I felt a sense of divinity, like I was witnessing a moment when a person really did something beyond human strength, and at the same time, I felt a sense of fear as a close friend, like, "Are you okay?" or "Has he collapsed backstage?" But in "Final Fantasy," there's a line that says, "Do you need a reason to help someone?" Hanyu-san quoted that line in response to me. I thought that was really cool. This time, the theme was "Pray = Prayer," and I think Hanyu’s own “prayer” from the depths of his soul was also reflected in the theme. It's not like the Passion of Christ, but I thought later that maybe there was a feeling that "I have to give this much of myself" within him. Q: Moreover, if it were a one-night show like "Gift," it might be okay to burn out, but since it was a tour, he couldn’t afford to burn out.

A: Yes, that's true. I've always thought that the things he thinks are different from other people, but coming here has made me realise that he's different from other people in terms of what he can do and his physical potential.

Q: He has also performed solo shows like "Prologue" and "Gift", and I think he’s constantly evolving.

A: That's right. I also thought that Hanyu approaches each moment by embracing the limits of what can be achieved as part of his aesthetic. After all, even with Hanyu’s abilities, there may be physical limitations and various other issues that could affect what he can do 10 years from now. So, I think he is doing the best he can in the moment. Q: Hanyu has been running non-stop since he turned professional, so I feel like it’s okay not to be in such a hurry.

A: I always mention that on video calls, but he always just laughs, like, "Hehehe." But, you know, the way he laughs, "Hehehe," makes me feel like the protagonist from a movie or game who knows they can never return. Maybe it's because he thinks it would sound trivial, but he doesn't really verbalize those kind of core matters in our conversations, intentionally. While he passionately talks about his thoughts on his performances, he tends to avoid putting concerns or heartfelt feelings into words. I’m not sure if he’s embarrassed or something else, but that aspect makes me want to support him even more. It’s quite cool. Q: Do you have any ideas for songs you would like to collaborate with Hanyu in the future?

A: There are many, but for example, in classical music, Debussy's "Clair de Lune". I’d also like to try some more upbeat and rhythmic songs. Additionally, pieces like "Haru yo, Koi" and "Rondo Capriccioso," which have original versions but have been arranged to give them a new expression specifically for Hanyu-san. Through this process, I hope to create new interpretations of classic masterpieces as part of the repertoire that only Hanyu can bring to life. Also, this may be something Hanyu-san is thinking of doing next, but I would really like to do an original piece. A piece made just for Hanyu-san. Hanyu-san has strong philosophical and emotional sentiments, and he always has them clearly in his mind, so I would like him to perform with the idea that "I turned those into a song." Q: Kiyozuka imagines what Hanyu is thinking, and the two of you create a program together.

A: Yes, that's right. It would be wonderful if we could gradually create something together and eventually produce an original piece. It's perfect, isn't it, for a figure skater like that to have a song. After all, only Yuzuru Hanyu, who has his own philosophy and story, can do it. Just having skill or popularity alone doesn't suffice. If you have a piece of music just for the sake of it, it becomes cheap. It would just be a gimmick or a marketing tool. But in his case, it makes sense. Q: Have you ever had such conversations with Hanyu?

A: Just a little. It's been mentioned in our casual conversation as one of my dreams.

Q: What did Hanyu say at that time?

A: He was very serious and said, "Actually I would have liked to have talked about it myself."

(※Up to this point, we conducted a joint interview. The following is from individual interview)

Q: I believe your first encounter with Hanyu was in 2018 when you collaborated on Fantasy on Ice. What was the biggest shock to you at that time?

A: I was really impressed that a figure skater could understand music so well and adapt to it so well. I don't remember how many times we did it in total, but during the tour, the performance time differed by about one minute between the fastest tempo and the slowest tempo. I was really shocked by how much he enjoyed and embraced such variation. Q: I think it's quite a big deal to change the length of a song by almost a minute, but did you have any meetings like, "Let's take it a little slower today"? Or was it just based on a mutual feeling?

A: It wasn’t something discussed in advance. Sometimes it happened based on the atmosphere of the moment. Since I’m human too, even if I intend to play the same way every time, there might be slight variations in tempo, or I might become more passionate during the chorus and play more intensely, or vice versa.

For example, if there’s a long note in the music meant to create a lingering effect, and I hold that note longer than usual, the length of that part extends. In response, the performance adjusts accordingly. That’s what’s remarkable. Specifically, at the end of ‘Haru yo, Koi,' the final 'Jaaan!' note expressed something like the scattering of petals, a sense of poignancy and transience, and I couldn't take my hands off the keyboard at the end. There was a lingering sound on the ice rink, and when I played the long 'Jaaan,' he added movement to that entire sound. We hadn’t discussed this in advance. Even in the demo performance, I didn’t play it that long. So I thought, 'That’s amazing.' It’s something a top-tier artist would do. It’s as if he thought, 'The other person is still playing. Great, let me add something here.' I think this is a musical skill. Even though the piece was over and applause had probably started, he kept adding subtle movements without stopping the performance. I was truly amazed by the level of musical sensitivity he had.

Q: When Hanyu appeared as a guest on Kiyozuka's music show, he said, " I adjust to the performance, not the song" That's exactly what it means.

A: That's exactly right. If you're performing according to the music, you'll probably end up with a pre-determined performance that says, "This is how it should end here." But in his case, he responds to what the performer is doing each time, which is a unique sense that he has. It's not something you can prepare for in advance, and I believe it requires a genuine skill to achieve. Q: In that program, he mentioned that in his competition program, "When I tried to match my spins to the music, the number of rotations was not enough." Is this a dilemma you feel from the perspective of placing importance on musical expression?

A: Yes, there’s definitely a dilemma when the music and the performance don’t align perfectly. However, in competitions, there’s a component in the artistic program score called 'musical interpretation.' For example, during 'Roncapu' he scored incredibly high, and I think his understanding of the music was likely a factor in that. On the other hand, I wonder how musical interpretation is actually judged. Personally, I think it would be better to have a musician among the judges (laughs). Q: When Hanyu turned professional, he said, "I finally became a professional." It seemed like he had always wanted to do it as a pro, and maybe he had too much to express.

A: Yes, I have mentioned this to him directly, but I felt that towards the latter half of his competitive career, he was feeling somewhat restricted. It felt like what he wanted to do was extending beyond the scope of competition. In competitions, you have to perform within the constraints of technique and time, and you have to score points. I felt that the dimension he wanted to explore was no longer fitting within that framework.

Additionally, there is a growing focus on jumps in the sport. I’ve felt in recent years that this trend has become stronger in figure skating overall. However, I believe figure skating is not just about jumping. Q: That’s true.

A: That's why I think it's amazing that Hanyu has turned professional and is now showing figure skating as a comprehensive art form. Q: I’m not sure if this analogy is entirely accurate, but in the world of classical music, musicians often compete in competitions aiming for top positions. Then, they go on to hold recitals as professionals and venture into new realms. I wonder if Hanyu’s transition to professional skating reflects something similar. He honed his skills in the competitive world and is now expanding into the realms of entertainment and art.

A: Yes, I’ve had similar experiences myself, so I think this is something in common. But I believe that figure skating tends to bring about more significant changes in its world. I think we have the potential to continue in a similar vein. However, just because you win first place in a competition doesn’t necessarily mean you’ll become popular or that you’ll be able to do interesting things. The performance from a competition isn’t always suitable for a concert setting. For the first year or two, there’s value in hearing the 'first-place performance' from a competition. However, new winners will emerge, and you can’t keep doing the same thing forever. I believe there needs to be a philosophy of 'what you want to express as a musician' behind it. Many artists reach an impasse in this regard. Determining what you want to express as a musician is a very challenging issue, and there is a clear divide between those who have it and those who do not.

In that respect, Hanyu-san seems to have almost too much philosophy. The competitive framework was just too small for him. As I mentioned earlier, when we were creating 'Roncapu,' I felt that constraint very strongly. In a short program of about 3 minutes, you can usually predict when the spins and jumps will occur. So, I planned arrangements based on the assumption of how the spins and jumps would fit. However, within those assumptions, Hanyu-san felt extremely constrained. I had a sense of this, and it seems he was aware that I was feeling that way (laughs). Recently, our conversations often touch on this topic, and it seems that Hanyu-san was in a similar mindset. It’s amazing how someone with such a unique perspective experiences their own particular struggles. It's as if the size (of what he thinks) doesn't fit anymore. Q: I’m sure Kiyozuka feels a great deal of sympathy for that too.

A: Yes, I really feel that way. Moreover, for those people, what they value most is rather the conventional aspects of technique. Bando Tamasaburo often says, "Breaking the form (being unconventional) is different from having no form," and what he means is that you must not fall into "having no form." Only those who have a form can break it. That's why he says you have to hold on to the form. After all, the more someone wants to "do something new," the more they will come to realise the value of that "form." I think he values that aspect. Perhaps he values the basic method more than he did when he was still comnpeting. I feel that way when I watch "RE_PRAY" now. It’s not just about being free; it’s because he has something he wants to express that he has come to recognise the value of these things anew. Q: He has solid technique and skates as if he is one with the music, as if he were actually playing the music. Where does that kind of performance come from?

A: It must involve an incredibly intense level of listening and focus. I think he is in a state where he can listen to the sound of the piece better than I can play it. Given his already exceptional concentration, I think he listens with such intense focus that it might even be exhausting for him. He’s not just passively listening; he’s analysing the music. This isn’t something that can be achieved without ability, but more importantly, it’s not something that can be done without passion. It really feels like he is devoting himself wholeheartedly. Q: When collaborating live, if he can fit the music so perfectly, I'm sure Kiyozuka also gets really into it and feels great while performing.

A: Well, rather than feeling enjoyable, it’s more like a challenge. "I've listened to this far," he would say in a very stoic manner, which can also be taken as a way of saying, "How much soul did you put into this sound?" and "Does it match my performance?" Of course, he himself wouldn’t say such things. So, if I don’t have a similar level of commitment, I can’t match him as a counterpart. Q: Everyone who works with Hanyu says the same thing.

A: That's because he doesn't just say it, he actually does it. It makes you think, "He's going to that extent..." It makes you question, "Am I a good match for him?" There are some aspects that make you nervous. Q: Is it hard to find someone like that?

A: People like that are quite rare. Especially these days, when the emphasis is on working with a sense of balance and ease. In that regard, the classical world also has a very stoic side, so working with him is incredibly rewarding and stimulating for me. Q: I imagine there were many difficulties, such as the rules for collaborating at a live show, but how did you go about aligning those aspects?

A: When it comes to collaborating, we examine what’s feasible and what’s not based on each other’s skills. However, we don’t always have unlimited time, and with performances coming one after another, his ability to pinpoint what needs to be discussed is exceptional. He’s incredibly sharp and highly knowledgeable about performing live. He quickly identifies the crucial points that need to be addressed. Once those points are determined, he stands firm and doesn’t compromise. That’s his style. Hanyu-san has specific goals he wants to achieve, and the challenging part is the work required to implement those goals as means. It’s not about bringing something particularly radical. It’s about expressing his musicality, goals, and philosophy. To convey that, there can be no compromise; it’s a fundamental principle for any performer. Hanyu-san reminds us of this principle time and again. Q: Thank you for sharing your valuable story. Lastly, please give some words of encouragement to Hanyu.

A: Until now, I've supported "RE PRAY" but also worried about whether it's okay for him to do something like that, but Hanyu-san has made up his mind, and has dedicated himself to it to the point that I feel it would be rude to even worry about him. I also felt the strength of his belief that "this is all I have." And rather than worrying, I'm determined to "follow him wherever he goes," and I hope that I can continue to support him, encourage him, and sometimes even fight alongside him.

Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 82-87 Info: https://x.com/AxelQuadruple/status/1790025373582860575

[tutuandscoot]

hi! i am a new ice dance fan and was wondering if you could explain why everyone is saying the sport is going downhill?? just trying to learn!!!

Oh boy…. That’s a long story.

The quick version, as pertains to ice dance:

There used to be 3 segments of competition: compulsory dance, original (then short, then rhythm) dance, and the free dance

In the 70’s,80’s,90’s (and earlier?) teams would compete at least 2 compulsory dancers, then OD and FD. It was cut back to one CD around 2000- so eg the 2002 Olympics was one CD, OD, FD. After many scandals relating to judging and corruption, the ISU got rid of the 6.0 scoring system and brought in what is used now known as the Code of points.

Through 2000-2010, teams competed the CD, OD and FD. After the 2010 season (where VM won olys and worlds) the ISU abandoned the CD from senior competition bc ‘it was boring’ and ‘took up too much time at competitions’

As a compromise they rejigged the 2nd portion of competition- renaming it the ‘short dance’ which was very strict and technical- each year there was a chosen rhythm and set pattern dance within their own choreography every team had to perform- so it at least had a compulsory portion where every team was compared directly against each other. After 2018 (when vm won again) they renamed it the ‘Rhythm dance’ and since then have slowly been loosening to rules and requirements to make it less objective- so essentially judges didn’t have to justify their scoring and could just award what they liked. There is also a scoring component called GOE- grade of execution which was increased from 3 to 5 (plus or minus- a score which is added or deducted from each element base value)- this part of the score was given much more weight and priority so essentially a team could perform a fairly easy lift which isn’t worth many points, but the judge decides they really like the lift and can make up that teams points with a high GOE mark if they choose to. And vise versa- give a team low GOE to knock them down even if they are technically strong.

After 2022 olys the set/compulsory pattern was removed all together- so there is no part of ice dance competition now that offers direct comparison. Judges don’t have to reward the actual best team‼️This is where you get fans complaining about teams that are not technically strong scoring well/winning bc the judges “like” them or there is some other (bribe/political) incentive to reward that team.

It is impossible I think to get rid of all corruption in skating, but the 2007-2018 era/s at least had *some accountability (don’t get me started on VM vs DW)

The announcement yesterday that there is not even a solid set ‘theme’ or rhythm going forward (aLeDgEdLy) is infuriating. Add to that that there is no traditional, classical dance left in ice dance- no ballroom, latin, classical ballet. Die hard fans love compulsory dances like the golden waltz and tango romantica bc when a team ( VM) does it well it is ice dance at its purist.

The isu is essentially telling us what is good when we all damn know it’s not good. They are taking us for fools, they are pandering to tik tok audiences bc they know people don’t have the patience or interest to watch actual skating competitions and think they will get audiences back by “modernising” the sport bc people these days can’t relate to tangos and waltz.. which is BS bc back in the 80’s people weren’t getting around waltzing and tangoing at clubs and parties- this is classic dance and art that actually works on ice bc it is adapted from ballroom dance. Not sliding on the ice breakdancing to Party Rock Anthem!🤮

I’ll stop there bc this is getting long and blogs like @macaroni-rascal @anewbeginningagain etc can explain the technical stuff much better than me

[ravenonice]

Scoring in Yuri on Ice

or the IJS Scoring System prior to 2018

I made a guide like this before but I wanted to rewrite it since I found some flaws and want to add more resources and stuff for both YoI fanfic authors and fans who just want to understand scoring in figure skating a little better maybe :)

Disclaimer: I am only human. This guide is most likely flawed. But the ISU doesn't seem to understand their own scoring most of the time either so does it really matter? Please tell me if I have wrong information on anything or explained it wrong/confusingly. ^^

The International Judging System (IJS) has been used in figure skating and ice dance competitions since 2004. It replaced the prior 6.0 system which awarded two marks on a scale to 0 to 6, one for technical merit and one for presentation.

Some of the "older" skaters in YoI, e.g. Viktor, Chris and Yuuri, still skated under the 6.0 at some point. If you place the start of the story in 2015/16, then Viktor skated under the 6.0 for his whole Junior career and the switch was made around when he started skating in seniors.

But we are not here to talk about the 6.0.

Scores given within the IJS consist of 2 parts: The Technical Element Score (TES) and Program Component Score (PCS), which are then combined to make up the Total Segment Score (TSS).

A score sheet from a competition (in this case short program) looks like this:

So let's break that down, shall we?

Technical Element Score (TES)

The TES is about the technical elements in a program, such as jumps, spins, step and choreographic sequences.

In the Short Program there are 7 required elements which can be skated in whatever order:

A double or triple Axel

one triple or quad jump

a jump combination

one spin with a flying entry

a camel or sit spin with just one change of foot

a spin combination with just one change of foot

a step sequence

Single jumps don't recieve any points at all, but do count as a performed element. That means if a skater "pops" a jump, meaning they open up to early and only perform a single rotation, they can't just try again.

The short program is 2min 40 secs long +/- 10 secs

The Free Skate is more...well...free. But there are also restrictions.

A total of 12 elements have to be performed:

7 jump elements. One has to be an Axel jump.

Three spins. One has to be a combination, one has to be a single position and one has to have a flying entrance

One step sequence

One choreographic sequence

Different to the short program, you get points for single jumps. Though those are hardly ever performed on purpose.

The Free Skate is 4 minutes and 20 secs long +/- (now it's 4 min).

Every Element has a Base Value (BV). That meas the performed element is guaranteed those points minus deductions and plus the Grade of Execution (GOE).

Base Values

In Figure Skating there are 6 jumps which can be performed with up to 4 roations at the time being. I will list them with the according base values and with the according abbreviations.

Toe Loop:

1T =0.4pt - 2T =1.3pt- 3T = 4.3pt - 4T = 10.3pt

Salchow:

1S = 0.4pt - 2S = 1.3pt - 3S = 4.4pt - 4S = 10.5pt

Loop:

1Lo = 0.5pt - 2Lo = 1.8pt - 3Lo = 5.1pt - 4Lo = 12pt

Flip:

1F = 0.5pt - 2F = 1.9pt - 3F =5.3pt - 4F= 12.3pt

Lutz:

1Lz = 0.6pt - 2Lz = 2.1pt - 3Lz = 6pt - 4Lz =13.6pt

Axel:

1A =1.1pt - 2A= 3.3pt - 3A = 8.5pt - 4A = 15pt

Those values are for prior to 2018 and correct in the context of YoI, the Base Value of the quads and 3A are now a little lower.

-> Why is the Axel worth so much more?

Unlike the other jumps, a single Axel has 1 1/2 rotations, since, other than the all other jumps, it has a forward take off, but is landed backwards.

As of now, the quad Axel has only been landed succesfully by Ilia Malinin, a 18 y/o skater from the USA. He landed it for the first time in competition and got it ratified at the beginning of the 22/23 season at the US Classic, a challenger event that was freaking geoblocked so no one outside the US fucking saw history being made...

Prior to that, Yuzuru Hanyu trained the 4A intensely, and landed it in competition on two feet at the Japanese National Championships in 2021, but failed to get it ratified internationally at the 2022 Olympics because he fell.

But, as far as YoI canon goes, not even Viktor jumps a quad Axel. The extra half rotation makes that jump extremly difficult and was deemed impossible for a very long time. And while I encourage you to use the quad Axel as a story point and a goal for one of the characters, and think it can be very powerful, I highly discourage you from putting a quad Axel in your story lightly.

Euler Jump (a transitional half jump used in combinations to change the edge for take off): 1 EU 0.5 points

-> in YoI that would still be called a single Loop (because thats what it is basically...) and be marked as 1Lo! They changed the name in 2018.

I will try to make another post about the different jumps soon, but for now here is a guide for telling apart jumps!

Combination jumps:

For jump combinations the base values are simply combined. E.g.: A 3F+1Lo+3S combination has a base value of 10.1 points.

Reduction of Base Value:

An underrotated jump (<) will receive 70% of the Base Value, a downgraded jump (<<) receives the Base Value of the jump with one less rotation. If I am not mistaken the 70% Base Value rule also applies to jumps with a wrong take off edge (marked with "e"). Someone please corect me if I'm wrong, I couldn't find the information anywhere...

Repetition:

In the Short Program, each jump can only be executed once. That means that if a skater jumps for example a triple toe loop as a solo jump and as part of the combination, the second jump won't receive any points.

Further in the Free Skate, the "Zayak rule" is to be observed, meaning that from all triple and quad jumps, only two can be executed twice. The repeated jump has to be in combination! For example having a 4T and 4T+2T in your program is valid. But if you have two solo 4T the second one gets marked +REP and receives 70% of the base value.

This also means that if a skater falls on that combination with the repeated jump, it's extra bad. Because that means -1pt for the fall, negative GOE of course and the jump is only worth 70%...tough.

If a skater repeats a jump, it will often be refered to as "zayaked".

Jumps of the same type but with different amounts of rotation are not considered the same jump.

Extra jump elements exceding the 3 in the Short and 7 in the Free don't receive any points.

Spins:

For Spins there are 4 basic positions: Upright, Layback, Sit and Camel. A Combination Spin must include an upright, a sit and a Camel position.

You can get awarded up to a Level 4 for a Spin, depending on various features such as a difficult entry, difficult change of position, visible increase of speed....

I will explain Spins and Spin Levels further in another post but here is a (very long...) list of values for different spins:

Upright Spin (USp):

USpB 1pt - USp1 1.2pt - USp2 1.5pt - Usp3 1.9pt - USp4 2.4

Flying Upright Spin (FUSp):

FUSpB 1.5pt - FUSp1 1.7pt - FUSp2 2pt - FUSp3 2.4pt - FUSp 4 2.9pt

Upright Spin with change of foot (CUSp):

CUSpB 1.5pt - CUSp1 1.7pt - CUSp2 2pt - CUSp3 2.4pt - CUSp4 2.9pt

Layback Spin (LSp):

LSpB 1.2pt - LSp1 1.5 - LSp2 - 1.9 - LSp3 2.4 - LSp4 2.7pt

Flying Layback Sping (FLSp):

FLSpB 1.7pt - FLSp1 2pt - FLSp2 2.4pt - FLSp3 2.9pt - FLSp4 3.2 pt

Layback Spin with change of foot (CLSp):

CLSpB 1.7pt - CLSp1 2pt - CLSp2 2.4pt - CLSp3 2.9pt - CLSp4 3.2pt

Camel Spin (CSp):

CSpB 1.1pt - CSp1 1.4pt - CSp2 1.8pt - CSp3 2.3pt - CSp4 2.6pt

Flying Camel Spin (FCSp):

FCSpB 1.6pt - FCSP1 1.9pt - FCSp2 2.3pt - FCSp3 2.8pt - FCSp4 3.2pt

Camel Spin with a change of foot (CCSp):

CCSpB 1.7pt - CCSp1 2pt - CCSp2 2.3pt - CCSp3 2.6pt - CCSp4 3.2pt

Sit Spint (SSp):

SSpB 1.1pt - SSp1 1.3pt - SSp2 1.6pt - SSp3 2.1pt - SSp4 2.5pt

Flying Sit Spin (FSSp):

FSSpB 1.7pt - FSSp1 2.0pt - FSSp2 2.3pt - FSSp3 2.6pt - FSSp4 3pt

Sit Spin with a change of foot (CSSp):

CSSpB 1.6pt - CSSp1 1.9pt - CSSp2 2.3pt - CSSp3 2.6pt - CSSp4 3pt

Spin Combination (CoSp):

CoSpB 1.5pt - CoSp1 1.7pt - CoSp2 2pt - CoSp3 2.5pt - CoSp4 3pt

Spin Combination with a change of foot (CCoSP):

CCoSpB 1.7pt - CCoSp1 2pt - CCoSp2 2.5pt - CCoSp3 3pt - CCoSp4 3.5pt

If you want to see good spins in men's skating, I highly recomend taking a look at Roman Spindovsky...ehm I mean Sadovsky ;D Here an example of a level 4 change of foot combination spin from him:

Step Sequence

A step sequence should have little two footed skating, a variety of different difficult turns and steps and cover the whole ice surface. Just as for spins, levels from base to 4 are awared depending on several factors that I will try to explain in a future post.

But for you to get an idea of what a masterful Level 4 step sequence looks like, here is the step sequence from Yuzuru Hanyu's Rondo:

As for Base Value:

Basic Level: 1.5 points

Level 1: 1.8 points

Level 2: 2.6 points

Level 3: 3.3 points

Level 4: 3.9 points

Choreographic Sequence:

The Choreographic Sequence is only performed in the Free Skate, and includes choreographic elements such as spirals, lunges... I will also make a post introducing different choreo elements in (hopefully) the near future, but for now have this Choreo Sequence from Deniss Vasiljevs as an example!

Watch the video from 1:25min to roughly 2:00min (or watch the whole thing I highly recomend :D). Using this as an example out of spite because the judges are stupid and inavlidated it for some reason...idiots...

As for Base Value, there are no different levels for choreographic Sequences so, very short "list":

ChSq 2pt

Grade of Execution (GOE):

The GOE ranged from -3 to +3 prior to 2018. The panel of judges awards GOE depending on how well executed an element is.

But how is GOE awarded?

Both positive and negative aspects of a performed element are considered and then added in the end for the final GOE.

Jumps:

To receive +1 GOE, 2 of the following bullets must be achieved, for +2, 4 bullets and for +3 6 or more.

unexpected/creative/difficult entry (An example for that would be a back counter into an axel jump)

clear recognizable steps/free skating movements immediately preceding the element (My favorite example in Yuzuru's Twizzle exit from a 3A)

varied position in the air/delay in rotation (Remember when Yuri Plisetsky raised his arms during his jumps in the Grand Prix Final? That's what they mean with varied position in the air. Delay in rotation is pretty self explainatory I think. The skater needs longer to rotate, making it more difficult)

good height and distance

good extension on landing/ creative exit

good flow

effortless throughout

element matched to the musical structure (I just love when a skater lands a jump right when the music pics up mmmh chefs kiss)

Negative GOE is given for the following errors (It's too much to write down so here is a screenshot from the ISU Guidelines):

Spins:

To receive +1 GOE, 2 of the following bullets must be achieved, for +2, 4 bullets and for +3 6 or more.

good speed or acceleration during spin

ability to center a spin quickly

balanced rotations in all positions

clearly more than required number of revolutions (which is 3 is think)

good, strong position(s) (including height and air/landing position in flying spins)

creativity and originality

good control throughout all phases

element matched to the musical structure

Negative GOE is given for the following errors:

Traveling refers to a skater moving across the ice during a spin instead of staying in roughly the same space.

Step Sequence:

To receive +1 GOE, 2 of the following bullets must be achieved, for +2, 4 bullets and for +3 6 or more.

good energy and execution

good speed or acceleration during sequence

use of various steps during the sequence

deep clean edges (including entry and exit of all turns)

good control and commitment of the whole body maintaining accuracy of steps

creativity and originality

effortless throughout

element enhances the musical structure

Negative GOE is given for the following errors:

Choreographic Sequence:

To receive +1 GOE, 2 of the following bullets must be achieved, for +2, 4 bullets and for +3 6 or more.

good flow, energy and execution

good speed or acceleration during sequence

good clarity and precision

good control and commitment of whole body

creativity and originality

effortless throughout

reflecting concept/character of the program

element enhances the musical structure

Negative GOE is given for the following errors:

Calculating GOE:

The Panel of judges usually consists of 9 judges. The lowest and highest GOE mark are cut, then the average of the remaining 7 is used to determine the GOE points for that jump.

For example:

A skater executed a Triple Lutz with a base value of 6 points. The GEO marks from the judges were as followed: +2, +2, +3, +2, +1, +1, +2, +2, +2. The highest and the lowest mark get cut. The average of the remaining 7 is 1.86. To calculate the GEO you now take the base value and do the following: 6 x 18.6% = 1.116 so about 1.12 points. The total points awarded for that jump would be: 7.12points

For combinations the base value of the hightest valued jumps is used to determine GOE, not the combined base value of the jumps.

As for step and choreographic sequences you multiply the average by 0.5 to get the GEO.

Yay! Maths :D

Highlight Distribution:

Jumps performed in the second half of the program are awarded a 1.1 multiplier of the the base value. E.g.: A 3A performed in the second half has a base value of 8.8 points.

Yuuri takes advantage of that a lot.

Prior to 2018 there was no limit on how backloaded (term used to describe programms with a lot of jumps in the second half) a program could be. Technically all jumps could be executed in the second half. However that left programs empty and boring in the first half since the skaters were basically just stalling time.

Now the multiplier is only applied to the first jump in the second half of the short and to the first 3 in the second half of the free. I am not opposed to that rule. The ISU made a rule that made sense for once

Deductions:

Of course, points are deducted for mistakes or other rule violations.

Deductions are:

Falls:

First two falls -1pt each. Third and fourth fall -2pt each. -3pt each for each fall after that.

Interruptions:

If the performance is interrupted by the skater, they lose -1pt for >10 but <20 secs, -2pt for >20 but <30 secs and -3 for >30 but <40. -5pt if the program isn't resumed withing 3 minutes.

Time violation:

-1pt per 5sec (program either too long or too short)

Costume/prop violations:

-1pt

A costume violation would for example be feathers (real feathers are prohibited), or if, for women, a boob falls out or something.

Props aren't allowed all together.

Part of the costume falls off on the ice:

-1pt

Somersault type jumps (aka Backflip):

-2pt

Late start:

Skater doesn't take starting position within 30 secs -1pt

Program Compoment Score (PCS):

The PCS used to be about the 5 following categories and is awarded by each judge on a scale from 0 - 10 in steps of 0.25. 5.00 Would be "average". As you may already be able to tell...this is not a very reliable way to judge this. Yeah...

Skating Skills:

Basically how good a skaters skating is. Can they skate with power and ease both forwards and backwards as well as clockwise and counter-clockwise? How clean and clear are the curves (edges) over the ice?

A skater should look effortless in their movement. Quick and easy, flowing over the ice with soft knees and ankles.

Their skating shouldn't be scratchy and noisy, resulting from pushing with the toe rather than the side of the blade.

Something you will often hear fans complain about or praise are edges. A Figure skate blade has two edges, outside and inside, and one sign of good skating skills is being able to go down deep on them. Look at Ice dancers Tessa Virtue and Scott Moir for example. Edges so deep the side of the boot almost touches the ice. Beautiful!

Transitions:

The "in between" technical elements. You don't want to just skate between elements, you want to tie the program together with linking steps. Skaters idealy incorperate different steps and turns to make the programm seem seamless. You want there to be little (visible) prep time for the next element.

I will make another post regarding such steps and turns.

Performance:

This is one of the categories that is heavily dependent on the judges personal preference.

In this category skaters are judged based on their, well, performance... Are they emotionally, physically and mentally involved? Do they project the entire audience? Do they have good ice presence?

In the case of Yuri on Ice: this is where all the Katsudon, waterfalls, grandpas etc. come in. Yuuri seduced Viktor for those sweet PCS points haha xD

Composition:

In this category the placing of the elements across the ice surface are judged.

Idealy a skater should use as much of the entire ice surface as possible.

Then there's also questions such as if the spacing of the elements etc. has some sort of purpose. Is there a story told or idea conveyd? Does the movement match the phrasing of the music?

For this category, having a good choreographer comes in very handy ;)

Interpretation:

Again, heavily judge dependant...

Is the skater performing with their soul? Are they skating with music in the background or are they skating to the music, their movement matching the beats in it?

This is the "music" that Yuuri emits when skating according to Viktor! So this is something he is very good at and should receive high points in...if the judges actually do that is another question...

Calculation of PCS:

Very easy this time! It's just the average of the individual scores given by the judges. For the Free Skate the score is factored by 2.0, meaning it's doubled to balance it a little with the TES.

Further Resources:

Now this looks very overwhelming! But here are some pages to help you!

SkatingScores:

You can use this blank IJS sheet to easily calculate scores using the abbreviations I used in this post! They also are the best and biggest available data base for scores in figure skating and you can look up competitons and skaters here!

ISU Results:

If you want to find score sheets for a specific competition you want to reference, you can also quickly google "ISU results (competition)". For example, Grand Prix Final 2015:

There you can access the judges scores for the competion as pdfs.

So you want to watch figure skating?:

This blog is really helpful. They have various guides to figure skating as well, but be aware that they are of course up to date with the newest rules. But they also have a handbook with terms you will often hear and may want to use!

Further Notes:

Scoring in figure skating is highly controversial and in conversation with fans you will often hear terms such as over- and underscoring.

There is corruption, there is favoritism...you name it, figure skating probably has it...

If you want your characters to be upset about something in the sport, scoring is one of your safest bets.

You can have Yuuri's fans and probably Viktor too, be outraged by Yuuri's too low PCS, or the low GOE on his step sequence. Maybe they even rated that one a level 3 instead of the usual 4? Lot's of possibilities for frustration...

Another thing that is frustrating for Yuuri in particular is that jumps are worth so much more and make up a big chunk of the TES.

He is known for his intricate step sequences. But what does that matter if he can't get more than 5.4 points for it? And you rarely get full +3 GOE! The step sequence, which is such a vital part of a figure skating program and show cases such a varried skill set, is worth roughly the same as a triple flip max...

Sure there is the PCS, but here the judges are often biased, or simply don't know how to award points. It sometimes appears to be a bit arbitrary. Skaters who do a shit tone of cross overs suddenly get skating skill scores in the 9 point + range... It's bizarre.

Anyway...I hope you enjoyed this guide and find it usefull! I will try to get the other parts to this out as soon as I can!

And if you read this far: thank you <3 Have a lovely rest of your day and have fun writing!

[anewbeginningagain]

I’m going to come in with a very unpopular opinion…the Taschlers don’t dance. They should get high marks for the skating skills component but their transitions are basically just crossovers. They are choreographed like a pairs team. Which is annoying because Natalie in particular *can* dance. T/V have two excellently composed programs in which they dance clearly defined styles in partnership and use more classic hold than 95% of current teams. Their one foot this season is also the most difficult in the entire field. They skate smaller but I’m absolutely fine with them being rewarded and their style encouraged because I like old school ice dance for the dancing on ice, and don’t enjoy the pairs-lite direction the discipline has gradually gone in since 2018.

I actually mostly agree. I think T/V have two strong programs (RD strong for them, FD strong objectively and I like it very much) and I think the Taschlers choreography is mostly their weak spot as it's often two open with too many crossovers. So basically there should be a balance between rewarding T/V for their programs and the Taschlers for their speed, edges, and ice coverage, a balance that doesn't exist right now, especially not in Finland.

As for T/V's one-foot - I agree it's very complex but the thing is I don't think they are the team to execute it as it's always been a weak element for them IMO.

[gloster]

FAVORITE FANFICS OF 2022

What is up, you guys? HAPPY 2023. We did it. We somehow made it through 2022 that, in 2 words: TRIED IT. 2022 tried all of us in so many ways than one. Emotionally, mentally, physically, and beyond.

We all had ways of coming up with ways to get through the rough year. Friends & family (both blood & chosen). Music. Movies and shows. And of course fanfics.

The world can be turning, burning, but at least fanfics can always be counted to take us away from harsh reality and bring us into the sweet world w/our fav characters, OTPs falling in love dozens of ways.

Every year fanfic writers both familiar & new to me blow me away with their talent, their writing, their brilliance. And every year I always do this traditional post to give them their flowers.

If you're interested in past lists, here are the ones for 2021, 2020, 2019, and 2018

Without further ado, here are my favorite fanfics of 2021

1). prince & prince by Authoress aka @kiribakus (tododeku)

Summary: Note to self: don't accidentally fall in love with a prince who's in an arranged marriage keeping your kingdoms from declaring war against each other. Especially when you're spying on him as his manservant.

Jaw. On. The. Floor. Jaw. Still. On. The. Floor. This story is the reason why this post is coming January 1st instead of the December 31st. I stayed up till almost 3 in the morning to finish this story and my jaw was on the floor when I read it. My jaw is still on the ground as I write up this review. I buddy-read this w/my bestie @littlenightdragon & our mind are still blown by what we read.

This story has been a long time coming. This is considered the classic fanfic in the tododeku community. It's took me while to get to it since there are so many stories I wanted to get through, but I finally did. Quite frankly, because this is such a popular fanfic, I don't know what else I can say that other readers haven't said in their own rec posts.

However I will happily say this one lives up to the hype. I repeat: LIVES 👏 UP 👏TO 👏THE👏 HYPE! The writing, the dynamics between Izuku & Shouto, the smut that was just 🔥🔥🔥, and again I APPLAUD @kiribakus for how the story was done. This is loosely based off the Captive Prince trilogy, so if you're familiar with the trilogy, you definitely see the elements of the story while also having this fanfic be its own thing. Not an easy thing to do, so massive kudos 👏👏

2). The Pakhan's Jewel by theangryuniverse (viktuuri/victuuri; mpreg)

Summary: No one had ever heard the omega speak.

It was not that they had never heard him at all. They had all heard the voice of the omega at some point – a gentle laugh, for example, a quiet hum, or, quite more often, lustful cries and moans, caused by the Pakhan himself. But the omega never spoke, and never deigned to even look at them, for they all were beneath him, and mattered less than the dirt beneath his feet.

For they all knew that Katsuki Yuuri's heart belonged to one man only - and that man was Viktor Nikiforov, the Pakhan himself.

Someone had said, I believe it was either here on Tumblr or Twitter, that the YOI fandom is keeping itself alive w/fanfics, fanart, and posts on our favorite ice-skating couple. I 1000000000%. And this fanfic is proof of it.

Oh where oh where do I begin? Let's start with this. We have ABO and a Mafia AU with an established happily-married couple who give the same intense, overly-passionate in love energy as Gomez and Morticia Addams.

I repeat an ABO Mafia AU story with a couple who give off the same intense, passionate happily-married energy as Gomez and Morticia Addams, which I needed so badly and was greatly needed. It was soooooooooooooooooooooooooooooooo good. I ate it up like candy. I devoured every chapter.

My favorite element of the story is how Viktor is the Pakhan, he's the boogey-man that keep enemies and allies alike on their toes. Yet Yuuri is the one who keeps him on his toes- and knees-and however Yuuri decides to see his husband fit. It was sooooooo good. Like if Yuuri told Viktor to burn the world, he'd do so happily. He was such a simp for his husband the same way Gomez is for Mortica and I ATE IT UP.

And I'll definitely check out more stories by this author & suggest you do so too.

3). Winter Song by proantagonist (viktuuri/victuuri)

Summary: The set of Yuuri’s mouth softened into a private smile as Victor squeezed his knee beneath the table. His hands were bare, free from the gloves he so often wore when they were together on the rink, and the heat of his palm burned straight through the denim of Yuuri’s jeans. He slipped his own hand beneath the table and found Victor’s. Hidden from sight, their fingers began to flirt and play. A secret conversation all their own that needed no words.

Yuuri was aware that at some point—a moment in time he couldn’t quite place—Victor had become his boyfriend.

There wasn’t a single instant when it happened. It was a slow awareness, as if Victor had silently been asking the question for months now, and Yuuri had been giving him the answer a little more with each passing day.

Another YOI story? Why, yes, yes it is. Was this another one that gave you all the feels? Yes, yes it did. This one- all I can say is 10 10 10 10 10 across the board. This one was canon, in a way that was more so behind the scenes/deleted scenes that the creators didn't want us to see but the fanfic writer was like Yeah....FUCK THAT, we're getting those bonus scenes.

In this one, we see Viktor and Yuuri develop more as a couple while also coming into their own. I love how it's equal. Like yes, even though Yuuri has social anxiety, Viktor has his own issues with self-worth, past relationships, and expectations. The author noticably took time with the relationship where we see them become a stronger team, better friends, and a sweeter couple.

Such a joy to read.

4). The Roundabout Way of Fate by @itsmyartfam (tododeku)

Summary: “His quirk will get attention no matter where he goes. But if he ends up working with heroes then he’ll have their protection. That’s why I said most doctors and nurses have minor healing quirks- because people with powerful ones often catch the attention of heroes, who will in turn protect them from any villains who also have their eye on them.”

“Oh! Okay. Okay… this… this is a lot…. Heh, and I was worried he’d breathe fire…”

“Don’t ever forget- Izuku’s quirk is a good thing. He just needs to be a bit more careful than most children.”  _________

Midoriya Izuku wants to become a hero. Midoriya Izuku is born with a healing quirk. He learns how to save people a different way.

You ever read a story that's so canon yet not like canon, but you wish it could be canon? Like if you had a chance to redo canon, you'd pick an alternative. Well, for this one, if I could make it canon, I would in a heartbeat. Like it was among one of the first fanfics I read in the beginning of the year, but the fact I still think of it fondly proves how much of a great, fun read it was.

There are so many things I love about this fanfic. Obviously the writing, obviously the pining that goes on with both Shouto and Izuku. But I think the main things are I love how Izuku has a quirk, a Healing quirk at that, that seems so minimal to society but he's like, NAH You're not gonna push me around and treat me like I'm delicate flower. There were even scenes where he had to remind Shouto of that, and it was too satisfying to read.

But most of all, I love the platonic relationship between Izuku and Bakugo. This is one where you can tell there is a bond there, but it's much healthier with boundaries clearly set. One where Izuku isn't afraid to call Bakugo out & Bakugo actually thinks things before before just exploding.

I ADORED IT. Just as much as I adored the author @itsmyartfam for making Izuku a healer. They had expressed they dealt with backlash from other readers who didn't agree with the quirk, but I thought it was very fitting. Given Izuku's personality, his caring nature, his compassion, healing is perfect match.

5). flawless by @irishseeeker (kathony/kanthony)

Summary: Kate Sharma is the diamond of the season.

Viscount Anthony Bridgerton plans on courting and marrying the Diamond of the season.

Kate is going to make that as difficult as possible.

First off I like to give massive thanks & props to @irishseeeker for doing the damn thing and giving me what I wanted. Me & my besties @littlenightdragon & @kila09 all agree on several things

Season 2 KICKED ASS. Season 2 carried. Simone & Jonathon did what needed to be done and carried season 2 on their bare backs.

Season 2, much as it is amazing & gave me my new favorite OTP, would've been better if Kate had been made the diamond. It definitely would've given the Queen the buzz she wanted. It would've been made the season more better- not to mention take away the barely-there love triangle they were trying for and failed at EPICLY.

The fact @irishseeeker as if they could hear my thoughts took the idea and run with it, they have my eternal gratitude. Currently it is a WIP, but y'all should definitely check out because you'll be devouring and begging for more. I know I did.

6). Bottom by Anonymous (kathony/kanthony)

Summary: By day, Anthony Bridgerton is in control. He eats at exactly the same time every morning, he exercises for exactly the prescribed amount of time, at work he never misses a deadline or forgets to show a friendly face, and at home he's a dedicated son and big brother, always there when his family needs him. His life since his father's passing has been about control.

By night, Anthony is ready to let go. He doesn't want to think. He doesn't want to plan. He wants to let go and let someone else take the wheel. (Or the dog leash.)

This is Anthony's journey into being a sub.

Before this story, I never really read femdom unless the couple is a queer-sapphic couple. Now after this story? I just want more. Especially if it's Kate being that dom. Like please give it to me. Please please please.

Mind you, we don't get much of Kate or kanthony/kathony until the last chapter. The beginning is more so Anthony and Simon, but the main thing I love about this story is how it does explore Anthony's trauma with being the oldest, having so much expectations placed on his shoulders. Which is what the show did hint at, but didn't go deeper. In this story, we did. And I appreciated it.

7). All That series by @himawaribees (Itafushi)

Summary: Fushiguro Megumi and Itadori Yuuji first meet at a frat party and proceed to have lots and lots of sex. Like, a silly amount of sex. Some (the author) might say they have too much sex.

Follow itafushi's journey as they fall for each other and slowly, eventually get together!

This was an unexpeted I found on Tumblr, I believe. I've been rocking in the Jujusten Kaisen fandom for awhile- also highly recommend the anime as well as the manga. But as long as I've been rocking in the fandom, I didn't have a definite ship. Until now.

Sometimes, all it takes is a good fanfic to kinda show you how well a ship can be. Which is what happened here.

I've always liked Megumi and Yuuji's dynamic in the show. Definitely gives sunshine & grump energy. Eager pup & annoyed cat. But this story, along with many from the author proved how that dynamic can work even more than as a couple. The way I just devoured the first story of the series, then the 2nd one, then the next, and the next till I finished what's been poste & am eagerly awaiting the next update.

Honorable mentions:

Sweet Tooth

Trust Me

Slow Down

8). Like, Comment, and Romance by @xskyll (tododeku)

Summary: In the hero community, it’s common for popular heroes to have merchandise for sale. Amongst these items are a few staples: t-shirts, figurines, and, of course, replicas of their costumes. This is where Deku, a well-known YouTuber, comes into play. Deku’s Hero Analysis is a series where the host, Deku, dresses up in official pro hero costumes, then does an analysis of each hero and reviews some of their merchandise. Joining him is Hito-nyan, the sarcastic cameraman who never shows his face and loves to push Deku’s buttons. And watching them is pro hero Todoroki Shouto, who absolutely, without a doubt, does not have a crush on Deku. Except actually he does, which is fine, because it turns out they have a friend in common and getting to meet the adorable YouTube star is more likely to happen than he ever would have dreamed.

Midoriya Izuku + Youtuber. A combination that never crossed my mind and never seemed so right until now. Like second, I started reading the story, I was like WHY DIDN'T THIS COMBO CROSSED MY HEAD BEFORE. It makes total sense, especially with how in depth his hero analyses are and how much of a fanboy Izuku.

Along with Izuku being a total fanboy, we also have Shouto who becomes a massive (obsessed) fan with Izuku's channel, and quickly afterwards with the boy himself.

I love how we got the unexpected duo that was Shouto and Ochako, a duo I didn't realized I needed until now.

9). Most Favorite Bedtime Story by Sasunaru (drarry; mpreg/implied mpreg & veela-Draco)

Summary: Scorpius' most favourite bedtime story? The story of how his parents fell in love. And his grandmother tells it the best!

My friend Melissa aka Sasunaru can go no wrong when it comes to her pen game & her wickedly brilliant brain. This was no differeny.

A simple story, but a sweet one nevertheless of how young Scorpius loves hearing his favorite story, how his parents first met and fell in love. And who better to tell the story than the grandmother who was there to witness the love story unfold before her eyes.

10). Like Honey and Grenadine by bazooka (taekook)

Summary: A Somewhat Cosmic Adventure, In Which: Jeon Jeongguk is both a Flustered Meme Child as well as the King of Hell; Kim Taehyung is really good at peeling back layers; Jeong Hoseok can go wherever he wants; balance requires sacrifice.

A retelling of the Abduction of Persephone, but with extra awkward flirting and way more gay.

OMG, this story. OMG, THIS STORY. It just delivered. And I eat. I ABOSLUTELY LOVED LOVED LOVED IT.

We have a Hades and Persephone AU, which I never get tired of, but in this one it was a bit more modern, kinda like Lore of Olympus where Taehyung quickly finds the boogey-man everyone fears and is weary about is a nothing more than a bunny. So insanely cute.

Honorable mentions that I seriously wanted to add to the list but this post is already lengthy. All amazing, all greats reads by various writers y’all should check out:

With Just A Little Help From Our Friends by @sashadistan (tododeku; ABO AU w/Shouto quietly pining, Izuku being oblivious, Kiri being helpful, & Bakugo being done w/all their butts)

Letting It Go by dreamchaser31 (kathony/kanthony; Kate being through w/Edwina's shit & calling her out AS SHE SHOULD, Anthony & Lady D backing her up all the way)

Brighter than The Sun by @goldentruth813 ( sheith; a retired vet in care of care & Keith answering the call)

Hooked on You by @trenchcoatkitten (tododeku; heartwarming story invovling cats, Shouto being a pet daddy, and Izuku a knitting mentor that he falls hard for)

in his hands by @softlystarstruck & @babooshkart (drarry; trans-drarry who are happily married w/soft BDSM & even softer aftercare)

And there you have it, folks. Those are my top fanfics of 2022. I can already tell I'm gonna have LOADS for 2023. To the authors, thank y'all so much for your incredible stories, including the time and effort.

Happy New Year, guys

[gogogogolev]

Stephen’s interview at 2023 Skate America, published in World Figure Skating Magazine No. 99.

Stephen Gogolev 11th place men

I want to prove it to myself as well

WFSM: Reflecting on Skate America, how was it?

SG: It’s a disappointing result, but it’s a sport so sometimes there are bad times. I want to work harder in practice. The American audience gave me a boost; I think it gave me energy in terms of expression.

WFSM: This season’s free skate is choreographed by Benoît Richaud.

SG: He showed me several pieces of music; I chose three pieces from them that we joined together to create this program. It was very interesting to create a program with him that felt completely different from anything I had ever done before. I couldn’t get used to the music at first but it became fun while practising it, and I started to think I wanted to do my best to skate this free skate.

WFSM: What kind of preparation have you done for this season?

SG: Right now I’m training in California but this summer I went to Toronto and took part in the Canadian National Team Camp.¹ At the camp you skate your short and free in the style of a competition. It’s a way of getting feedback from the judges – there I got advice from the judges about spin positions, choreography, and step sequences.

WFSM: With Mr. Keegan Messing’s² retirement it’s time for a generational change for the Canadian men, isn’t it?

SG: Of course my goal is to become Canadian champion within a few years. But there are still competitions until then, and I want to do my best regardless of the competition.

WFSM: Have you met any of Canada’s retired star skaters?

SG: I see them on various occasions such as at the Canadian Championships. For example: recently when I went to Granite Club in Toronto I met Kurt Browning who congratulated me on my 3rd place finish at Autumn Classic International.

WFSM: Are medals an incentive?

SG: Of course, this is my first medal in senior international competition; I think it gave me confidence that I can do more.

WFSM: Are you currently a university student?

SG: I go to University of California Irvine. My major is political science. I decided on it because it was a field I was interested in.

WFSM: When do you think you are the happiest?

SG: I’m not sure. I think it’s probably when I’m busy. Of course I’m happy spending time with family or playing tennis, but I’m the type of person who feels fulfilled when I’m busy.

WFSM: Your goals for this season are?

SG: I want to fight so that I can properly show what I am capable of. I want to prove to myself that I can do it, prove that I can go beyond my limits. I think it will be good if I can gain experience in international competitions.³

WFSM: Do you enjoy competitions?

SG: I have come to enjoy them over the last few years. I can meet friends as well as new people. It’s nice to cheer on my friends.

(October 22, 2023 interview on the final day of Skate America)

Interview, text: Editorial department Text by World Figure Skating

Photo caption, top: FS “Time Lapse” (Choreographed by Richaud) © Nobuaki Tanaka / Shutterz

Photo caption, left: Born December 22, 2004 in Toronto. At the age of 13 he landed a variety of quads, winning the 2018 Junior Grand Prix Final. After that he went through a period of injury; presently he is training with Arutiunian. 13th place at the 2023 Four Continents Figure Skating Championships

Notes:

High Performance Camp, held at the end of August in Mississauga, ON.

Keegan was named politely with the -san suffix.

This is stated as - he hopes to get more experience competing internationally. Literally translating to ‘pile up experience’.

----

Despite how sad he looks in that photo Stephen answered the questions clearly. That’s good to see.

Stephen never goes in much detail about what is going on with him. But occasionally we get small amounts of info. Here we see that he is addressing his belief in himself. It's never been about a lack or loss of talent for him, he just needs to get his self-confidence back.

Kurt’s continued support of Stephen is invaluable. Kurt mentioned he’s known Stephen since he was 8 years old, before he moved to North America, and he hasn’t forgotten him since. You just have to love Kurt and all that he does for this sport.

Also it's nice to finally hear about what Stephen’s studying. It would be interesting to get his thoughts on current international affairs, but he would not share anything with strangers. I am wondering now what he plans to do after undergrad. Perhaps studying law? Public service, or public office? We got one answer, but more questions have now popped up. He’s a smart guy so I am sure he will succeed no matter what he plans to do.

This interview was over two pages which I have just stitched together in the image above. Here is a bonus image from 2023 Grand Prix de France which was shared as part of a collage from that event on another page. The caption states Stephen was 7th in the men's event. Photo credit: Manabu Takahashi/Shutterz

Thank you to World Figure Skating Magazine for interviewing Stephen. This was an insightful and considerate interview.

---

Disclosure: The content of this interview went from English to Japanese and now back to English. I may have lost something in translation. Though I try to ensure the nuance of the conversation has been captured in the translation, I welcome any corrections. Please link back to this interview if you share it as I may edit it.

If you would like to purchase this magazine with international shipping you may do so through Amazon Japan, CD Japan, HMV & Books, or Honto.

Happy new year to you all, and may 2024 be a fantastic year for all of us.

[thewickedbohemian]

Dream Animated Movie Musical Tournament Seed Round Group H

For information on this tournament as well as the seed poll for group A go here

Why I think these musicals should be animated movies (in my opinion)

Starlight Express: as the main gimmick of the stage show is the skating you'd have to convey the sapient trains another way and while I'm not saying Disney should make this (though the animation could still take some inspiration) any more than it should be in the Cars universe such that it might as well be called Trains instead, that franchise at its best has proven kids can care about sentient vehicle characters when they're older than the Thomas The Tank Engine target demographic (and Starlight Express even has a plot with similar racing-intrigue vibes to those movies)

The Secret Garden: like A Little Princess, another classic story adapted time and again but I think a movie of the musical would be a fresh take and there are elements of the musical I think animation would have an easier time conveying on screen and if done well this could be absolutely breathtaking

Heathers: movie's a cult classic musical's an even-cultier-classic thanks to Tumblr (and I think way better than the movie) and this could strike the balance between nostalgia and feeling fresh (perhaps enough to boost the musical to Broadway through new fans) as well as wipe the ugly taste of that 2018 TV show out of society's collective mouth

My Fair Lady: maybe it's because it was one of the first live-action movie musicals I watched when I was still young enough to be in the target market for a lot of Disney animated musicals but ever since I started getting into the idea that maybe not-for-kids-explicitly musicals could be animated movies something about My Fair Lady has always seemed like it could really lend itself well to cartoons (maybe it's just how larger-than-life/archetypal the characters feel even by musical standards), and its movie is old enough that a new movie (perhaps with the changed/supposedly-more-feminist ending that one revival did) wouldn't be out of the question

Hello, Dolly: from one meddling-centric similar-period piece to another I just always picture how the songs would look animated (perhaps it's a setting thing but usually in a style similar to The Princess And The Frog) whenever I listen to anything from that show and the live-action movie we have is so iconic a remake would have to try something daring like being animated to stand out (and Disney could even make said remake as they do technically own the rights to Hello, Dolly)

Bare: A Pop Opera: (note I'm being specific here and wanting a movie of the version called that) it deserves to have a movie because it's an underrated and unfortunately-relevant show that deserves to have a fanbase outside some small corners of social media and a cultural impact outside of the potential that the song "All Grown Up" was sampled in Billie Eilish's Oscar-winning "No Time To Die", that movie should be animated not just because of the distancing/"less real" argument I've used with a lot of the heavier shows in this tournament but because I think that'd be the best way to convey the dual worlds/dual Romeo-and-Juliet narratives of the story without looking potentially cheap or like you're metaphorically watching Glee

Jasper In Deadland: because the mainstream deserves to know about Ryan Scott Oliver's work beyond the sorta-mainstreaming of "The Ballad Of Sara Berry" and this definitely seems like it'd lend itself well to animation (and perhaps appeal to a certain Tumblr-active crowd into YA animation who probably shopped at Hot Topic before Hot Topic were revealed to be art thieves)

[chock-bates]

Madison Chock and Evan Bates Partnership for Clean Competition Keynote Transcript

Moderator: Our keynote speakers have a very relevant story to tell that demonstrates how athletes at every level can be impacted by doping. Antidoping programs are in place to help protect athletes, protect the integrity of sport, and to help ensure clean sport. That is why the Partnership for Clean Competition supports some of the world's top scientists and innovators in high quality antidoping research and development. Olympians and World Champions Madison Chock and Evan Bates are joining us directly from events in Japan where they recently won their first World Championship. Together they've competed in three Olympic games, including silver medalists in the team event in 2022. They competed in 2018 and 2014. They have competed together in ten world championships, again winning the world championships this year, twelve US championships, winning it in 2023, 2022, 2020, and 2015, and seven Four Continents championships. They also just arrived, as I said, from Japan, where they helped Team USA secure the first place win at the ISU World Team Trophy in figure skating, and they're not done yet. So we're excited to have them share their story, and I'd like to invite Madison and Evan up to the stage.

Evan: Hello, hello everybody. Thank you so much to everybody for having us today. Super honored to be here and share a little bit about our story. So Madi and I just flew in from Japan last night, we're a little bit jet lagged, so please bear with us a little bit. We just had an incredible time in Japan, we were doing some touring as well as some competing. It's so cool to be here at the MLB headquarters, I'd like to say thank you to everybody here for hosting us. Our time in Japan, we got an opportunity to see some parts of Japan we would have never otherwise seen. We were up in the north in a province called Iwate. There's a really famous baseball player named Shohei Ohtani who's from Iwate. We were actually in Iwate during the World Baseball Classic. To see the way that this global game brought everyone together was so incredible and it was such a beautiful example of the power of sport. The way that it brings us together, people from different backgrounds, different ages. To fly from Japan, to come straight to the MLB headquarters, a little ironic, but thanks so much for having us today.

Madi: We've had two competitions and also performed in the Japanese Stars on Ice Tour while we were there, so it was a wonderful week of skating for us. We won our very first ever World Championships, a gold medal in our total career, which has been a long career, so that was an incredible experience. At World Team Trophy, we helped the US secure the gold medal. That again was incredible. The team event is such a unique and special event, it only comes around every two years or four years. Four years for the Olympics, two years for the World Team Trophy specifically in Japan.

Evan: This is a photo from last weekend. This is our team, team USA. My caption kinda shifted a little bit, but that's ok. A little bit about the team event, cause it's really unique in figure skating. Figure skating is a very individual sport. It's rare that we get to come together and compete as one. It's like the Rider Cup for golf. Like Madi said, it only comes every two years, or four years, in the case of the Olympics. Our most recent Olympic experience was in Beijing last February. The games in Beijing were a little different than we had experienced before for a couple reasons. One, they happened in the midst of the global pandemic. Two, it happened at the origin site of the global pandemic. Three, no fans were allowed to come. So we were skating in these massive venues for thousands of people but they were virtually empty. So it was just some kind of bizarre experience, but regardless we were extremely grateful for the opportunity to compete at the Olympics. There was a certain amount of uncertainty on whether we'd even have the opportunity considering the Tokyo games were postponed. Needless to say, when the games came around, we were super excited and we were selected to be in the team event for the first time in our careers.

Madi: We were incredibly excited but also incredibly nervous. Full of adrenaline, it was the first time for us to have the privilege to compete in the team event. For our Olympic season, we wanted to stand out. We've always prided ourselves on being creative and pushing skating to different levels and really thinking out of the box. For our Olympic performance, we decided to skate to Daft Punk, which is EDM music, very unusual for figure skating, especially during an Olympic season. In this performance, I play an alien, and Evan plays an astronaut. We meet each other and tell a story on another planet which we named Planet Ice, so it was very fun for us to do this very unique program and we'd like to play it for you.

Evan: There are our teammates, those are the people you can hear cause the rest of the venue is completely empty. We're so proud of that performance for many reasons. In a field of Rachmaninoffs and Beethovens, we were out there skating to Daft Punk and being aliens and astronauts. Watching that immediately brings me back to Beijing. I'm surprised at how emotional I was watching it in front of a group of people.

Madi: I'm surprised at how nervous I felt.

Evan: I'm sure many of you know where the story goes from there, and we're going to get into it, but before we do, we'd like to step back and talk a little bit about what goes in to getting to that point. What does it take to get to the Olympics. I'll share my story first, I'm 34, I started skating at 4. In my 30 years I've spent on the ice, I've spent more time on the ice than I could even imagine or count. I grew up in Ann Arbor, Michigan. When I was 9 years old, a Russian couple who had defected from the Soviet Union took jobs at the Ann Arbor Figure Skating Club as ice dance coaches. I'm going to show my childhood photos here. The young Russian couple took my sister and I as their first students. My aunt, who was a skater herself, and went on to become an immigration lawyer, she offered her legal services to the Russian couple in exchange for one year of free ice dance lessons fro her niece and nephew. So that's how I got my start in ice dance, with a quid pro quo.

I didn't start with Madi right away, wasn't that lucky, but I had a wonderful partner named Emily. We started together as kids and we grew up on the ice together. We skated together for 11 years in Ann Arbor with those Russian coaches. It started off just a couple days a week, but the Russian coaches were very demanding, they were great, but they were very intense, and the time commitment grew pretty quickly. By 7th grade, I was leaving school at 11am to go to the rink. I was skating 6 days a week, spending probably thirty to forty hours a week at the rink. Extracurriculars and time spent hanging out with friends and family vacations were sacrificed. Obviously there was a lot of hard work, but there were also some incredible payoffs quickly. Emily and I started to travel internationally. We started to represent team USA, I got hooked immediately. We were traveling to faraway countries I would have never otherwise seen, places like Tallinn, Estonia, Bulgaria, Taipei. For a 12-13 year old boy, the life experience was incredible.

We had some great success. We became Junior World Champions, and we qualified for the Olympics in 2010 despite having a stress fracture that year and being pushed further than I wanted to be pushed, spending the year in one of those plaster casts. Somehow we made our first Olympics, we had an incredible experience there, but at that point, I was 21 years old, I wasn't the 9 year old boy in the photo anymore, and it was time for a new chapter. We decided to change coaches. Luckily at that time, Michigan was the hotbed for ice dance. We didn't have to go far, we didn't have to relocate at all. The Olympic champions and the Olympic silver medalists were training in Canton, Michigan, which was 20 minutes away from Ann Arbor, Michigan. We decided to change coaches and we started training alongside the Olympic champions and the Olympic silver medalist, and it was so inspiring to see how up-close the way the best skaters in the world worked and lived and treated their work. The rink was full of amazing skaters, including one Miss Madison Chock, who was there skating with her partner, Greg, at the time. That's how Madi and I came under one roof, under one coaches, with different partners, competing against each other for a while.

About six months into our training in Canton, Emily and I had an accident training. I was picking her up, and as I brought her down, her skate came down on the back of my leg, and it ended up severing my achilles tendon fully. I remember putting her down and taking my first step, and I turned to Emily and asked if my skate had broken. It just felt like the blade had fallen off the heel. I looked down at the skate, the skate was totally fine. Months later, I realized that feeling was what was happening on the inside of my leg. Needless to say, it was a terrible injury, needed surgery, our for the whole season. When I came back to skating, it was just really difficult to get back into it. I felt like I needed a fresh start, so I started looking for a new partner in the summer of 2011. Fortunately for me, there was a very good skater at the rink who was also looking for a new partner at the time.

Madi: Spoiler alert, it was me. Yes, we both teamed up in Canton at that time, but I'll go back and take you to the start of my journey. I began skating when I was 5 years old in Redondo Beach, California. My idol was Michelle Kwan. She was phenomenal, as you well know, and we had grown up skating in some of the same rinks, not at the same time, but to just see her and know her story, growing up in California, being an Asian American athlete, it was so inspiring to see someone who looked like me achieving her goals, becoming an Olympian, multiple time World Champion, was just incredible. That really sparked my love for skating and sparked my dream of becoming an Olympian.

As a young skater, I also did gymnastics, I did dance, I did many different types of dance, you can see my ballet, that was early, I wasn't very good then, I was figuring it out. I loved performing on the ice, and my coaches took note of that. They saw my joy that I had when I skated and my love of footworks in particular. Not so much jumping, that wasn't really for me. They suggested that I try ice dance. Unfortunately, at that time, there weren't very many ice dance coaches in California. They suggested to my parents that we move to Michigan where some of the best ice dance coaches in the world at the time were located. My parents, being the wonderful people that they are and supporting me no matter what, through think and thin, they were like, "Yeah, let's give it a try." So I'm very grateful for that, cause they put a lot of faith, I was twelve years old at the time, they put a lot of faith in me, and in my dreams. That belief has really inspired me since the beginning of my career as an ice dancer. When I was thirteen, we picked up our lives, they got job transfers, and we moved across the country to Michigan so I could be an ice dancer.

Shortly after that move, my mom was diagnosed with breast cancer. It was an incredibly difficult time for our family, definitely the most difficult time we faced, ever. Her and my dad began traveling from Michigan to Dallas where she was receiving treatment from a specialist. I would stay in Michigan, with friends of the family, or family would come to stay with me, so I could continue going to school and continue skating. Obviously, it was very difficult, I was distracted worrying about my mom. Through it all, she was an incredible force and so strong, and always encouraged me to enjoy my time on the ice and with my friends, and relish in the fact that I get to train as a figure skater, somewhere special with all these incredible athletes. Fortunately, she made it through her breast cancer, she beat it, and she's been in remission ever since. It was her strength that really inspired me. I knew that if she could go through that, I could go through anything I needed to go through on the ice. That was a huge inspiration. They are the main reason that I'm here. They've supported me in my Olympic dream my entire life. I'm very lucky and very very grateful.

When I was in Michigan, I found one of my first partners, Greg. We had a lot of success at the junior level and moved up to senior for a couple years before he decided to retire, which was a bit surprising to me because we were so young. Typically in ice dance, you have a long career. Some teams skate together for decades. I still had a huge fiery passion for skating and I wanted to go to the Olympics, we hadn't accomplished that goal yet. I began looking for a partner, and who should I find but Evan Bates?

At the start of our partnership, even before we had our tryout, I had witnessed him through his injury and his perseverance and the way he battled back and fought for his time on the ice and to come back to full strength. It was really remarkable, when you have a severed achilles, that's not something you fully recover from, let alone return to full sport and figure skating where your foot is in a boot all the time. That was an incredible testament to who Evan is as a person, his determination, his work ethic. That's really what struck me, among other things, his personality is really great. That was one of the main reasons I was really drawn to Evan and thought we would be a great fit.

Evan: We started skating together in 2011 and honestly the first year we didn't really have great results right away. What we did have was a ton of fun together on the ice, a lot of chemistry, we were constantly laughing through our training sessions, despite lackluster results. The joy that we shared on the ice together became the foundation for our partnership. I feel like that's the reason we're still competing together today, almost two decades later. With the joy, the results started to come. We qualified for the Olympics in Sochi, 2014. We had an amazing experience. We skated great, we didn't win a medal, but we accomplished all the goals we set for ourselves that year. We felt like the future was very bright. Only later did we realize that one of the most sophisticated doping schemes in the history of sport was happening right under our noses.

Madi: When that information came out in Sochi, it was incredibly frustrating as clean athletes to know that such a concerted effort was made to cheat. We have always had to work very hard for our successes and it was incredibly difficult to reconcile the fact that that was happening. But still, we weren't deterred. We had a goal, we wanted to win an Olympic medal and we didn't let that stop us. We continued our career together and the following year we won our first World medal together in 2015, and then we won another World medal the following year in 2016. We felt like we had this nice momentum building up for the 2018 games in Pyeongchang.

But then, as luck would have it, we faced some adversity yet again. As we were beginning our preparations for the Olympic season, the summer of 2017, I sustained an injury to my ankle during training. We were preparing for our preseason camp. We were being pushed, probably much harder than we needed to be pushed at that point in the season. But we continued, and we loved skating, and we loved working hard, so we thought that that was just what we needed to do. I ended up getting injured, my blade got jammed into the ice as I was coming down from a lift, I fractured fragments of my talus bone. When I went to the doctor, he said that I would need surgery to remove the debris in my ankle, and that I would absolutely need surgery. I was like, "Well, that's not going to work for me, I have an Olympic games to go to."

He was very cooperative with my hardheadedness and I was like, "Is there any way we could postpone this and push through it." He was like, "Okay, maybe, just try it, see how you feel." And so we did, I was taping my ankle everyday to make sure the movement was limited. We limited our ice time and did the best we could with what we had, since we knew it was better than not going and not fulfilling all of the work we had put in the last four years since Sochi. We decided to just make it happen and do the best we could.

Evan: We ended up making the Olympic team, but the experience was not the Olympic dream that we had envisioned. That's Sochi, sorry I missed a slide, and this is Pyeongchang. In the middle of our free dance, we bellyflopped right on center ice. It was not choreographed. It was so devastating after working for so many years. This was our second games, my third, and this was kinda our time, we felt like, to medal. As soon as you do that, you're not medaling. We were mad, we were angry at the situation. We felt like we were going backwards. At this point in our careers, we aren't young. You don't know how many Olympic experiences you get as an athlete. If you're going to compete for another four years. We were kinda at our wit's end. We decided to change coaches, and at this point, the mecca of ice dance had shifted to Montreal. We decided to leave Michigan, leave our families, move to another country.

We started a new chapter with French and Canadian coaches in 2018, and these guys have completely changed our lives. There are many coaches there, but our main coaches are Marie-France and Patrice Lauzon who are a husband-wife team who were an ice dance couple themselves and have really lived a very similar life to the one we're living now. They competed in the Olympics, even had a very dramatic fall at the Olympics which caused them to withdraw as they were hoping to medal. They were World silver medalists, and just good people.

When we moved to Canada and we started to see and be treated with this compassion from our coaches and our team, and be empowered as athletes, it completely changed everything for us. We started to fall in love with skating again. A love that we knew we had, but had waned through the difficult times. We loved the process of coming to the rink and getting better and working on our craft and soon the results started to come back. We won a US title again in 2020, it had been 5 years since we won our first. Afterwards, we were in the press conference and the media told us, that's the longest anyone's gone between national titles, great record! The next year we won a world medal for the first time in 6 years, and the press conference media said that's the longest time anyone's gone between world medals! Great, these aren't the records that we really want, but we'll take them! Things started to go great, leading into Beijing Olympics, we felt like this was finally the time we were going to accomplish our Olympic dream of winning an Olympic medal.

Madi: Back to Beijing, the performance we showed you was one of the best and most gratifying performances that we've had in our careers so far. It was an incredible feeling to deliver that performance for our team when we were under pressure because the last four years, the Pyeongchang games were kinda looming over us a little bit. Even as we got to the spin in our free program of this performance, we talked to each other after the performance, oh wow, glad that the spin went well, since that's what we fell on the previous year. Making it through that mental hurdle was a big accomplishment, not only to deliver that performance, was relly special to us. On that day, we helped solidify team USA's spot as Olympic silver medalists and it was really special to celebrate that with our team, some of whom we've trained alongside for years. It was the best result the US figure skating team has had in history. It was incredible to be a little part of that Olympic history.

The next 24 hours were a bit bizarre. We were all just blissfully going about our day, excited we had just won a medal. Later that evening, we would be going to our medal ceremony to be awarded an Olympic medal. We got dressed in our gear, a special outfit Nike that provides specifically for the podium and we're instructed to not wear it until the opportunity of the podium is there. So, we all got dressed, we felt excited, we had our fresh gear on. We met up, we were taking photos, then someone said, "Oh, I'm so sorry, the ceremony has been canceled."

And we're like, canceled, not postponed? Maybe an hour? They were like, "No, it's been canceled." We had very little information to go off of. We all just kinda sat in the room for a while waiting to hear more. When eventually we did start to hear more of the news that there was a skater in the event who had been caught in a doping violation, and so we didn't know what that would mean for our moment and our medals, but as the story unfolded, we slowly learned more. We kind of knew that we wouldn't be taking home that medal.

Evan: Right, but I don't think we recognized in the moment the kind of impact Beijing would have on our lives. We still haven't gotten closure on this event that happened fifteen months ago. We have the video that we proudly show that is evidence that we lived our Olympic dream and that we won an Olympic medal after years and years of hard work. But what we don't have is the actual medal and what we'll never have is the moment on the podium in Beijing, nor will we have the opportunities that come after winning an Olympic medal, the press tour, the opportunity to capitalize that many medal winning athletes have. Now it's been fifteen months and still no medal of any color, which is difficult, but we did leave Beijing with empty medal boxes, which you can see team USA has up there in the photo on the right. We actually brought them with us today, and if it's ok, we'd like to pass them around, if people want to see them. After today, these are going to go on display at the US Olympic and Paralympic Museum in Colorado Springs, please return them afterwards.

Madi: So we left Beijing with these boxes that you see and no medal. And eventually the story after we left the Olympics wasn't being covered anymore, until the one year anniversary, things had been relatively quiet. As we came up on the one year, US Figure Skating launched a campaign called "More Than Medals". The purpose of the campaign was to shed light on the situation that it was the first time in Olympic history where a team who had earned a medal had left without their medal. This whole thing is so much more than a medal at this point. It's about integrity and accountability and the values that we uphold as athletes and as sport organizations.

Evan: And that's why we're so honored to be here today, honestly, is to recognize the work that is being done in the antidoping movement. As athletes, we are the ones who reap the benefits of all the hard work that the researchers do and the policymakers do. Without your work and your dedication, there would be no fair play. There would be no level playing field because the fact of the matter is there will be people who are trying to get ahead, who will cut corners at the expense of their competitors. For those people, I think the ends justify the means, and that's the sad reality, but to be here today and to see all of you and to thank you personally is a big honor for us and we just want to say thanks.

Madi: And we also love the tagline of this conference, "World class research for world class play." That really resonates with us, it's so powerful, it's so true. Without you being the best at the world and what you do, we could not be the best in the world at what we do. We are incredibly grateful for everything you do and continue to do in your research to help protect the integrity of sport and uphold the values that are so important to all the athletes around the world. So thank you from the two of us and thank you from team USA and thank you from all the teams and all the clean athletes who compete all around the world. We really appreciate the work you do and we couldn't do what we do without you doing what you do, so thank you so much.

Moderator: So next we're going to go on to question and answer. At each of the desks, you have a microphone. You can push the on button if you have a question. I'll get it kicked off. I know there's hopefully some great questions in the audience. But, obviously from the Partnership for Clean Competition, what we do is we try to ensure clean play and fair sport through antidoping science and research that we fund, and it's great to have so many amazing partners, including USOPC, Major League Baseball, the NFL, and USADA. Just looking at the picture of you and the team with the empty medal boxes, on that one year anniversary, what are some of the feelings and emotions that you all have, just standing there, reunited as a team, still waiting for a decision on what medal you are going to get.

Evan: So I felt very surprised at how emotional the one year anniversary was. I think as athletes we develop a skill of compartmentalization, and for us in particular, we decided to continue competing, and just having this unresolved massive thing with this Olympic medal was looming over us, we just wouldn't function well if we just thought about it everyday. So, we just buried it. Honestly, like Madi said, we didn't feel like it was talked about much in the media. When one year came around and US Figure Skating put out a statement, so many people were like, "You guys don't have your medals still? Where are your medals?" And we just don't have our medals still. And this photo was taken at Beijing. We have not been reunited as a team since we left Beijing. I'd say more than half the team has moved on, gone to college, gotten married. The life of an Olympic athlete, the career of an Olympic athlete is short, and the opportunities are so few and far between. They only come once every four years. So to leave without the ceremony, without the medal, was a huge deal, and I know it will come, I know we will get our medal eventually, but the moment has passed, and that's the part that is maybe just still a little bit bitter.

Moderator: On the positive side, it looks like you channeled it into your competition this year, world championship, ISU first place as well in team competition, and some personal news between the two of you.

Madi: Yes, we're engaged! We got engaged last summer after our touring had come to an end and we just went on vacation and, it was very romantic, but since then we've been really enjoying getting back to training and we still have big goals and lots of passion for our sport and we want to continue to inspire future skaters and just show that if you have the passion and the drive you can accomplish anything. That's, for us, what's really important, and it's something we've grown to love is the longevity and the aspect of how much you can learn as you continue to mature as athletes.

Evan: I would add, we've been at this a long time, and now we're starting to really enjoy some success, like a world title a few weeks ago, but it's more like, the journey is the destination. The people that we've become and the things that we overcame together and the way that it has bonded us and contributed to our relationship today is the most meaningful thing. The medal is important, but it's the most important thing. I feel like this is just an unprecedented event in Olympic history. As athletes growing up, there's an unspoken promise that we come the competition and if we do well, we leave with a medal. That is something we always took for granted. Never in a million years could we have guessed that this scenario would take place This isn't the type of Olympic history we wanted to be a part of. I know it will be resolved, but we've learned to hold on to the intangible things more than the medals.

Madi: In a way, maybe it will end up being more impactful cause people will be inspired to have clean performances and be rewarded for them. I think it's a real tragedy when that becomes overshadowed by other things.

Question: Obviously this is a tragedy and the sort of thing we worry about here. Were you aware of or concerned about doping in your sport prior to your personal experience? And if so, what types of doping substances were being used in your sport at the time and perhaps now?

Evan: I think it wasn't the first instance of doping in figure skating dating back to Sochi, we had another competitor have a positive test in I think 2016 or 17 for meldonium. Heading into the Games and not thinking about them, not necessarily concerned about that, I think there is a part of the culture of figure skating that there is doping happening, and I think it's not something that's expected from the casual fan. I'll tell a story quickly, we were drug tested right before we left for our US Championships this January. We were having dinner and our doorbell rang and a couple from Quebec came and drug tested us. We had just gone to the bathroom so we had to wait a while. So we started chatting and they said, what sport are you? We said figure skating and they said, lucky there's not much doping in your sport. And I said, "Funny you should say that, because we are waiting for our Olympic medals because of doping."

I just think that speaks to the fact that doping is not what we all think, well you al know, but to the layperson out there, doping is not something you would associate with figure skating. But in Sochi, the curler tested positive for doping. It's unfortunately happening in all sports and I think that's why we appreciate so much the thoroughness of your work because most people wouldn't look under every rock and stone and we know that you are.

Question: If you think back at the time before you started to win, I guess you were also tested a lot. How was the perception of the antidopng movement back then? Was it something positively viewed on? Was it annoying? If you could back to that time, what could be done to motivate the athletes who aren't necessarily winning the medals but are still subjected to antidoping testing.

Madi: Well, I think in part it's an honor to be part of the doping test pool because you know that you're reaching a level in your sport that's being now looked at and investigated, and it's kinda like the elite get tested. For us, for me personally, I was excited to be include din that pool of elite athletes. And now, being very familiar with the doping protocal and getting doped randomly, and after competition. I appreciate the process even more. It's certainly not a burden and one I'm hapy to take part in because I know how important it is and how much it impacts the clean athletes all around the world.

Evan: Yeah, I think, maybe as athletes, we can speak more positively publicly about the antidoping system because as now, we're mature athletes, we recognize now the significance of having a robust antidoping process, and how that is the foundation for the entire system the athlete needs to have absolute faith in. When there is just a modicum of doubt about the integrity of the system, then everything staarts to fall apart. I think now that we've been kind of entwined in this doping scandal, I think, obviously, our storeis have changed, but I would love to be part of that voice of an athlete who says that the antidoping system is a great thing. They're not trying to get you. They're just trying to preserve the integrity of the sport so we all have an equal chance at a gold medal.

Question: Do you think this situation in Beijing is going to be an eye-opener in your discipline about doping or it seems to be an isolated situation and life moves on with the same perception of doping in ice skating.

Evan: I think the outcome will determine some of that. It's certainly been, in the moment, it felt like a huge story. When we were in Beijing, it felt like it was plastered across every outlet around the world. I would say, I would have thought that about Sochi, I thought that what happened in Sochi was so big that that would have been the tipping point. We have said that we hope this is the tipping point that will change the perception of organized doping, but I don't know.

Question: One of the things that has come up with this situation is the influence of coaches, and obviously you guys have been through different coaches, because we often blame the athlete, but it's often the support system around them. Can you comment on the influence that coaches have, especially in your sport.

Madi: Coaches have a tremendous effect on the athletes. They're really the role models and mentors we look up to, especially if you're a young athlete, up and coming in your sport. The coaches are huge aspects of how you become molded as an athlete, what's ingrained in your values, your mentality. So having knowledgeable coaches and supportive coaches is life changing. Coming from many different coaches and experiencing the different styles and techniques and tactics, I can say that the more you can support the athlete and nature them as a person and not just an athlete, the more success that has seen, in my experience.

Evan: And I think, this particular case is unique, because a minor is the athlete involved. In that instance, we have to look at the people around that athlete and we have a certain amount of empathy for the athlete in question, because a fifteen year old minor, and we know what the culture of sport is, and being a young athlete. You want to be a people pleaser and a star student, and I think, very often, maybe not very often, occasionally, athletes can be put in very compromising situations. We're all for athlete empowerment and protection of athletes, and certainly, minors.

Question: It's shown that the antidoping system is kinda working. You have Sochi, which ended up exposing institutionalized doping. Valieva, who tested positive, but no one knew about it, it was delayed. So the system itself is working from a research perspective, but from an athlete perspective, where do you think the human capital and frailty has failed you, including the bureaucracy. What message would you send to sport leaders across the world, including in this room, what needs to be improved in terms of human capital and bureaucracy and doping.

Evan: I think it goes beyond the lab and the testing. As athletes, now with the experience we've been through, we see the need for robust legal processes that are going to ensure that fairplay is upheld in the court of law. That is something we didn't expect when we left Beijing. The timetable that has passed, deadlines that haven't been meant, and it's difficult because we go to these competitions, and we have press conferences, and all year, we're being asked about our team medal. We just shrug our shoulders and say, we don't know. I think the transparency, Madi said, good governance, accountability, the pillars of the Olympic movement that they speak about, should be upheld.

[lavelled]

matching holding patterns.

Quick news blog. Princess Kate is noncancerous. Prince Harry, living in the UK, posted on Truth Social “Powerfulnnz” hoping it’d distract, not realizing he only gets one covfefe. Oh. And David Foster, the record producer, who wrote songs for Celine Dion, Chicago, Michael Jackson, and Whitney Houston has got to be telling Tom: “this fucking guy.”

I googled your Megrez jewelry in looping downtime. Besides the obedient tiaras, she’s worn symbolic necklaces engraved with the initials H and A. I hear you ask: Harry and firstborn? It’s a straightforward threat to Tom with baubles and, for me, an anatomy no-no. Kismet couple.

TEAM H&M: Glad you could join us. I quite understand your backsies flipsies and the highly pretentious “brand” act in the press, paternally speaking. I also get that her co-signed misogyny generates revenue for you. Your client is reinventing herself as a gracious homemaker with her devoted British prince, despite the overseas prince being high-tech famous in sexual assaulting pedophilic circles. I’ll make it clearer to you. Her Hallmark movie, When Sparks Fly, has a co-star: Hank Lyons. Aware of his marital rape clause, she is unified next to diapers; exploited her wheelchaired sister to push Harry’s agenda; and is covered in chokers and an NDA muzzle.

The flipping is off-kilter and widdle old.

Women know she’s not a role model and are hurting themselves.

Girls like Lucy-Bleu Knight, daughter of Meegan Hodges.

I want a public divorce first.

A YouTube video titled: Prince Harry (funny roast) Royal Variety Performance. 2015. I say with confidence that it is a suited excuse for Prince Rape to point heavenward at mark 4:26 and to grin at Risky Business, theft, and razors.

Oksana Shachko—Ukrainian artist and activist; feminist and founder of protest group, Femen. The group stood up to rape and the sexual exploitation of Ukrainian women and demanded the release of political prisoners. Her activism paved the way for the term, Sextremism. A painting prodigy, she moved to Paris. July 23, 2018, two months after your wedding, she hung herself.

Ellie Soutter—British snowboarder. She won a Bronze Medal representing Great Britain at the 2017 European Youth Olympic Winter Festival in the snowboard cross. On her 18th birthday, she committed suicide in Les Gets, Haute-Savoie, France. Two months after your wedding.

Maggy Biskupski—French police officer and president of Mobilisation des policiers en colère. Or, the Angry Police Movement. At 36, she focused on anti-cop hate and eradicating cases of internal suicides. Six months after your botched wedding, she shot herself with her service weapon in Carrières-sous-Poissy, France.

Desmond Daniel Amofah—online as Etika; YouTuber and live streamer, posted videos on gaming and his reactions to games and trailers for Super Smash Bros. 1 million subscribers. His Insta page, 9999999999999999999, has over 300K followers. He went missing June 19, 2019, almost exactly one year to your wedding; his body was pulled from the East River NYC; suicide.

Ekaterina Dmitriyevna Alexandrovskaya—Russian-Australian skater; 2018 US International Figure Skating Classic Bronze Medalist and a two-time Australian national champion. Her skating partner was Harley Windsor. July 18, 2020, she jumped out of the 6th floor of her Moscow apt. At 20 years old. Her suicide note said: Lyublyu. Love you, in Russian. Flip it.

Olivia Rose Podmore—NZ racing cyclist; competed in the 2016 Summer Olympics and the 2018 Commonwealth Games. She committed suicide on August 9, 2021. Her last social media post was: “When you don’t meet society’s expectations such as owning a house, marriage, kids, all because you’re trying to give everything to your sport is unlike any other.”

Books published at the same time as your imitation wedding: The Cruel Prince by Holly Black, A Spark of Light by Jodi Picoult, and rising star, Michelle Obama, with her book, Becoming.

But wait. Spain for a royal tour? No. That’s my Felipe VI. He’s a lowly towering 6’6 King and Captain General. Watching closely, through Leonor, his formidable daughter’s press.

Divorce.

K

[avocoadosworld]

Asteroids Development Post

Enemies

Implementing enemies was decidedly harder than I first thought as you can tell from the video below (note the low FPS is due to Tumblr .GIF size limitations.

If you notice, all the enemies are sort of "skating" around the player, not really moving toward. Also, they aren't even facing me! The video in the "Health Bars" heading will show what the enemies looked like after some tweaking, still a bit skatey but definitely an improvement.

Health Bars

I want this game to use a health bar instead of a counter in the top left. The logic is similar to the counter in the top but the implementation is a bit more complex as is shown by the video below

The issue I discovered I was doing is: not having individual animations for each state of the bar, thus making it "fill" at the start and stay that way. Getting the bar in a more appropriate spot and actually making it count down with each hit gave the game a much better look.

What was something you learned?

Something I Learned

Readings

In Fullerton (2019, pg. 265), visualisation of the interface and 'natural mapping' is discussed, and specifically what makes a good health bar. This specific reading inspired me to change from a life counter, to a health bar. As it would be better 'natural mapping'.

I have no illusions that the health bar I implemented in my asteroids game is no doubt a step below the classic 'Quake' health meter that Fullerton used as an example, but I think it was definitely an improvement over the life counter.

References

Fullerton, T. (2018). Game design workshop : A playcentric approach to creating innovative games, fourth edition. CRC Press LLC.

[tutuandscoot]

(Just some thoughts I’ve jotted down while I thought of them bc if I leave them in my drafts telling myself to do a proper essay out of it it’ll never happen so sorry this doesn’t flow amazingly).

VM danced without making it look like dance..

I don’t follow ice dance closely anymore so I can’t speak on all the specifics but from the comps I have watched/ clips I see.. all this… adding of ‘dance’ to it.. like the use of the boards- as in using them kinda as props, the knee slides, handstands… it’s taking away from the essence of the sport which is the marriage of skating and dancing.

I know.. ironic this coming from a dancer, but they (the ISU) are compriseing the skating part of the sport for.. this… modernisation???

If you go watched the full SD replay from 2018 on the olys website, the commentary talks at the start about how ID needs to modernise and represent the culture and youth of today.. NO IT DOESN’T IF IT MEANS SACRIFICING THE WHOLE POINT OF THE SPORT!

Idk, I watched clip from the juniors just now and it was just plain bad. These people arnt… as with dancers like me.. classically trained

This is hard to explain..

VM are not the best dancers in the world off the ice- their knees/rhythm/coordination works differently to actual dancers- this is because they are skaters and in order to do what they do with knifes on their feet on freaking ice.. they can’t dance as if they were on the floor.. they made ice dance it’s own form of dance- a perfect hybrid of skating and dance.

Ice dance now looks like people who aren’t the best skaters in the world, and aren’t at all the best dancers in the world, trying to do regular dance on ice.. and that just ain’t possible.

VM, through their skating- their edges, control, musicality, emotion in the way they expressed movement.. they were skating.. but made you believe they were dancing.

The sport now-currently convinces me of neither of those things.

Bring back the freaking ballroom compulsory dances- that is ice dance. Bring back technically superior skating that is actually rewarded. Bring back (or let’s just actually reward it like it should’ve been for VM) an inspiring connection and relationship between partners.. I am no longer convinced this is an actual sport. Watching ice dance pre VM was questionable- especially in the 90’s/early 2000’s. VM forced it to become a sport and forced everyone to be as equally strong in both the art and athletic marriage of the sport (and I biaslly say no one ever achieved it like them) watching ID now I feel the same way. It does not make me think sport at the highest level. It does not make me think dance at the highest level.

How it managed to happen that VM came along at a finite time where the ISU actually got their shit together and made positive changes to the sport- made it a freaking sport, and then how quickly that went away- how quickly… idk - a combination of corruption/idiot judges/favouritism let it fall apart again..

This is why I can no longer enjoy the sport.. and why I struggle to believe it is still even a sport- it is not the fault of the athletes- they do what is rewarded, and if subpar… everything is awarded the highest marks then that’s the height they reach to.. they are not reaching their full potential, and the potential of the sport as a whole I believe for a verrryyy long time, and maybe even forever will stay with VM.. I want to believe they (S especially) can (have some part in) rescuing the sport they love so much.. I just don’t think it’s gonna happen and why I hold so close to my heart the love they had for it together and what they achieved- not in respect to the sport- but them as people- humans. artists. dancers..

[chanelfunnell]

not too much mail, one interesting find

A) yep I'd say that they are playing so horribly on purpose. The Blackhawks were told to tank to get Bedard or 3 draft pick if they are worse than Anaheim with just 20 points. Just look on Kaner and Tazer playing well then...

B)anon Interesting find thanks but I don't know exactly what it means. I am around Buffalo, yes our conditions are bad with snow and ,Kulda, Beanie wears a hat and he was drafted by the Sabres but maybe it is a regional fashion if the hats in the part of German/Czech overlapping area? Young Buffalo prospect has scored a hat trick at Junior World Championshio and I am sure they discuss M or maybe my post about funny hat on Leon Draisaitl staying with his agent back in the summer 2018 but I don't know. The IN is M's company's Insta but I don't know how to translate it. Lauko plays for Boston Bruins and M's comment is certainly a banter about the hat. It goes perhaps ,Fashion icon of the spa town, or ,Playboy of the spa town,. I guess the first one because the topic are the hats. It is possible Kulda ,Beanie -translation-Kulich got a motivation here. Anyway M has landed in Halifax. She covers Winter Classics so we have to prepare for a snow storm and Ashley's trolling storm about Kathy Leutner..thanks for find. Quite funny. He is apparently handy like Patrick Kane. I saw many NHLers wearing sneakers with the suit.

C) no,ice hockey is maybs the 4th popular us sport. It is no 1 in Canada.

D) yes, a kiddo reporter Joe (watching nhl for 5 yes, 4 yrs old lol) was influenced by Marketa and how a chedky toddler of a player of her team ate her lunch of strawberry dumplungs after asking just for tssting and left her just 1 from 4. M said it often in the interviews and she keeps in the shape for this reason. I think it a son of former NHLer like Max Domi. He scored a goal here. I guess Tazed dwells on his heydays, M moves on like an ice hockey flow. The young Czech team has played her dream two way ice hockey, like Coach Q did but its beggar's belief that she leaves that she leaves them to play for fun. I saw two videos what she wanted from kids in local club close to Hossa. Difficult ,monkey, ride with obstacles, askung for a floater pass and change. In the 4th grade. Short intensive drill and they practiced a floater and one leg up and shoor outside if the rink, M gigglimg in the video about ,overtime,. Back and forth, from the boad to thd board, no skating, no playing. You cant play intensive ice hockey without intensive skating or keeping with strategy of their coaches.

D)anon, brilliant that Auston Matthews with his Meghan have been found as a couple by the same bracelets like Meghan Markle and Prince Harry. But we are a republic, she is just Mrs Markle in USA. I am happy for any wag so i reblog.

[sywtwfs]

2018 CS US Classic, CS Lombardia Trophy & JGP Canada: Info & Streaming

Things are heating up this week with two Challenger Series events and the fourth stop of the Junior Grand Prix! More information will be added to this post as it appears.

US INTERNATIONAL FIGURE SKATING CLASSIC

Live results | Entries | Schedule | Website | ISU

Designation: Challenger Series When: Sept. 12-16 Where: Salt Lake City, UT, USA Level & disciplines: senior men, ladies, pairs, ice dance How to watch: Livestream on NBC Gold (paid subscription required). Possible fan stream. Extra backstage videos on the US Figure Skating Youtube.

Schedule (MDT, UTC-6) 9/13: Pairs' SP 4:00PM; Men's SP 5:30PM 9/14: Short Dance 2:30PM; Ladies' SP 4:00PM; Pairs' FS 6:40PM; Men's FS 8:00PM 9/15: Free Dance 5:45PM; Ladies' FS 7:20PM

Notable entries: Nam Nguyen, Michal Brezina, Hiroaki Sato, Yaroslav Paniot, Jimmy Ma, Vincent Zhou, Gabrielle Daleman, Satoko Miyahara, Yuna Shiraiwa, Yelim Kim, Eunsoo Lim, Courtney Hicks, Ekaterina Alexandrovskaya/Harley Windsor, Ashley Cain/Timothy Leduc, Marie-Jade Lauriault/Romain Le Gac, Christina Carreira/Anthony Ponomarenko, Madison Hubbell/Zachary Donohue

============================================

LOMBARDIA TROPHY

Live results | Entries | Schedule | Website | Facebook | ISU

Designation: Challenger Series When: Sept. 12-15 Where: Bergamo, Italy Level & disciplines: senior men, ladies, pairs, ice dance How to watch: Free Youtube livestream

Schedule (CEST, UTC+2) 9/13: Ladies' SP 13:50; Pairs' SP 17:10; Men's SP 18:30 9/14: Short Dance 13:50; Pairs' FS 15:50; Ladies' FS 17:30 9/15: Men's FS 13:00; Free Dance 16:00

Notable entries: Kazuki Tomono, Shoma Uno, June Hyoung Lee, Dmitri Aliev, Timothy Dolensky, Kaori Sakamoto, Mako Yamashita, Elizaveta Tuktamysheva, Sofia Samodurova, Amber Glenn, Nicole Della Monica/Matteo Guarise, Aleksandra Boikova/Dmitrii Kozlovskii, Natalia Zabiiako/Alexander Enbert, Charlene Guignard/Marco Fabbri, Sara Hurtado/Kirill Khaliavin, Rachel Parsons/Michael Parsons

============================================

JGP RICHMOND

Live results | Entries | Detailed schedule | Website | ISU

Designation: Junior Grand Prix When: Sept. 12-15 Where: Richmond, BC, Canada Level & disciplines: junior men, ladies, pairs, ice dance How to watch: Free livestreams on the JGP Youtube channel

Schedule (PDT, UTC-7) 9/13: Ladies' SP 11:00; Short Dance 15:30; Men's SP 17:45 9/14: Pairs' SP 12:00; Ladies' FS 14:20; Free Dance 19:20 9/15: Men's FS 12:30; Pairs' FS 16:10

Notable entries: Stephen Gogolev, Sena Miyake, Petr Gumennik, Basar Oktar, Tomoki Hiwatashi, Yuna Aoki, Rion Sumiyoshi, Young You, Anna Shcherbakova, Anastasia Tarakanova, Anastasia Mishina/Aleksandr Galliamov, Apollinariia Panfilova/Dmitry Rylov, Marjorie Lajoie/Zachary Lagha, Ksenia Konkina/Alexander Vakhnov, Eliana Gropman/Ian Somerville, Emma Gunter/Caleb Wein

[figureskatingcostumes]

Marin Honda competing in the 2017 US International Classic and performing in the 2017 Junior Worlds gala.

(Sources: nikkansports and Teng)

[gogogogolev]

Men’s FS results and Stephen’s protocol from 2023 World Team Trophy. He finished in 11th place with a score of 125.17, picking up 2 points for Team Canada who finished 6th overall with a total of 68 points. They pick up prize money totalling $130000 (with a cut taken by the federation).

Stephen’s total score, if that were a thing for this event, would have him under 200 points, a total of 174.95. He has only been under 200 internationally twice before (2018 JPG Canada and 2020 Junior Worlds where he broke his boot). There were his lowest scores of the season, his lowest since he left novice. These were some unbelievably low scores.

Something is seriously going wrong and Stephen needs to resolve this slump he’s in. I want him to take an analytical approach if that helps him deal with things better. Break the situation down into parts and see what is not working, how it can be resolved, the timeline of resolution, and checks to see if goals are being met. He needs to give himself some time to troubleshoot as well. This season’s approach of just doing the same thing over and over and hoping something changes for the better is obviously not working. I.e. It was disappointing to see him going back to a two quad short program layout when he knows he is not hitting those quads. He needs to be honest with himself so he can have reasonable skates.

There were good things about this free skate as well. He managed to land each of a 4T, 4S, and a beautiful 3A. His levelled elements were all level 3 and up. He made a gutsy move to attempt a sequence off of the 3F. I cannot recall seeing that kind of a sequence from him previously. He also tacked on the 2T to the 3Lo, but he was still short a combo. His PCS were in the gutter. :/

Thanks to the Canadian team for their support. They were all so kind to him. Someone even patted his shoulder after the FS. He was able to smile in spite of his performances thanks to them.

What’s next?

-GP assignments: supposed to be in late June but will potentially be delayed by the possible return of banned athletes -A summer event: Stephen needs to do a full event in the summer. Ideally he would come to Canada early and skate here as Kaetlyn Osmond or Keegan would do, but he favours Glacier Falls Summer Classic which is July 27-30. -A Challenger Series event - ACI, Nebelhorn Trophy, Nepela Memorial, and Finlandia are events before the GP where Canadian skaters get assigned. He should really be doing two since he is clearly in need of mileage but he has to start with one. ACI is likely to be yet another skate off. -Canada is hosting Worlds next season, and we have two spots for men. If he can get it together maybe he can claim a spot.

I want Stephen to know that while his fans are clamouring for a coaching change we still very much believe in him. If we didn’t we wouldn’t care how well or poorly he does. I will choose to remember him as I last saw him - brilliantly skating his FS in Oshawa at Nationals. That is the real Stephen Gogolev, and the one I hope to see again next season and for many years afterwards. I believe he can overcome whatever it is that is holding him back and he will reemerge as a top skater once more. So don’t give up. Show us the fight you’ve got.

Thank you for hanging in there this season Stephen. I wish you the best for the off season.