Written by Paige Summers in GoldenYuna
Web Edited by Ene
▶ You can download the original file updated by Paige Summers in May 23, 2014
II. WHY YUNA DIDN'T NEED 3LO/2A3T TO WIN
TES = Base Value + GoE
As the top post on this thread by ladyepheu says, while some skaters derive their technical points from the base value of their elements (hence they come up with a program with elements with relatively higher base value), Yuna is a perfectionist who focuses on overall quality of her elements (hence she aims for high GoE). They both carry risks of their own - it’s not that only skaters who have higher technical base value carry risk (of executing difficult elements), but skaters like Yuna carry the risk in that she needs higher GoE to rack up the points. But it’s about where the emphasis lies - BV or GoE.
If you actually look at it in a different perspective, skaters who plan a program with higher technical base value have logic that they don’t need high GoE (meaning execute the element in high quality) and even if they fail to execute the elements, they can still walk away with good amount of points even after the deduction of marks. - so it is worthwhile to try out harder elements even though they are not at a level to execute the difficult elements with high quality. So their emphasis is aiming for better/harder “tricks or stunts” to impress people and insure high marks - Like Mao’s 3A. Now, this is not a bad tactic - if the skater can bring themselves to the level that allows them to handle difficult elements, it will be even more effective. But in this case, skaters tend to put less weight on artistry and overall quality on each element because they have hard time just to keep up with executing the difficult elements they can’t master. It is very rare that we see full quality/choreographic transitions on the all elements and good interpretation of music. (music and elements make good harmony and are in sync)
Yuna’s emphasis is on striving for executing a perfect program and applying inarguably flawless technical quality to all of her elements when executing her elements. Her technical strong points don’t stand out like Mao’s iconic 3A attempts, but Yuna has her own signature skills overall - Her textbook jumping technique, unbeatable consistency & high success rate of landing clean textbook 3Lz/3F (she was known for her 3F-3T/3Lz-3T combinations - she is the only skater who has three 3Lz & two 3F all throughout short & long program), Ina Bauer/Spread eagle entry + 2A, and Yuna camel spin (variation from camel spin - leg bent 90 degrees and upper body facing upward - requiring great flexibility). What makes her stand out the most is that she goes beyond simply executing the elements and completes a masterpiece of storytelling by reflecting the very emotion and essence of music into her program. And this kind of artistry and connection with music were founded upon her mastery over strong basic skating skills and proper jumping techniques. In Yuna’s case, she has to give the skate of her life every time (meaning she has to make tremendous effort in executing the elements in perfect quality) to get super high marks - this is a risk no different than the risks that the skaters who aim for higher technical base value programs take with their programs.
Now, 2013 Les Miserables was a classic case of how Yuna’s overall quality was truly reflected in her marks. I want to do a comparison between Les Miserables vs Sotnikova’s FS in Sochi vs Adios Nonino. This was partly motivated by a blog site posted on Golden Yuna, comparing Les Miserables and Sotnikova’s Sochi FS;
- http://blog.daum.net/jwvoice/12105063 (This site was posted by someone earlier in Golden Yuna and has nice gifs to help you see the huge diff in quality of elements btw Yuna and Adelina ? and this website motivated me to do GoE comparisons)
Protocols / Score sheet of the three programs
01. 3Lz-3T 3-3 Combinations
Les Miserables 12.0 = 10.1 BV + 1.9 GoE
Simply perfect textbook - clear outside edge, great height and distance & flow in and out of the jumps, and good in-air position/axis, her head stays in-line with her upper body, her upper body stays straight, not twisted
Sotnikova FS 11.1 = 10.1 + 1.0
Inside edge on 3Lz, pre/under-rotation & full-blade on 3T ― subject for deductions
- With edge call & 3T under-rotation
Should be 7.5 = 8.9 BV (6.0 3Lz+2.9 3T<) - 1.4 GoE (at least average of -2 GoE- translates into -1.4 with Scale of Value)
Adios Nonino 11.7 = 10.1 + 1.6
(not much difference in quality compared to Les. Deserved 1.8 at least.)
* Send in the Clowns; 11.6 = 10.1 + 1.5
The jump that was even better than Les Miserables in my opinion - really deserved +2.1 GoE (the max GoE you can get) Looks so effortless. Notice cross-foot-change back step going into 3Lz. No other skater does that movement before going into 3Lz.
* delayed jump ― right after jumping into air, a brief moment of stillness before rotating with much speed― speed & power going into the jump creates this delay ― subject for bonus
Sotnikova Short Program 3T-3T 3-3 Combination
9.80 = 8.20 + 1.60
Seriously, right after the three turn it’s hard to tell if she’s going into toe loop jump ― 00:12:82s she lands two foot after three turn when she’s supposed to flow from three turn to 3T. She doesn’t have the speed going into the jump so she uses power to get up high but her in-air axis is unstable. Did this jump combination really deserve 1.60 GoE?
Les Miserables 7.2 = 5.3 + 1.9
Perfect/flawless jump with solid, almost non-slanted (close to 90 degrees vertical) inside edge ― and with massive three-turn before take-off.
Sotnikova FS 6.8 = 5.3 + 1.5
Notice unstable and shaky edge right before take-off - it moves sideways just like her flutz, pre-rotate.
Adios Nonino 6.5 = 5.3 + 1.2
Again, not much difference in quality from Les. Should have been at least 1.7 GoE ― and look at her choreographic transitions afterwards.
* Send in the Clowns; 6.4 = 5.3 + 1.1
The jump that was same, if not better, than Les Miserables 3F - really deserved at least +1.8 GoE.