Based on what? especially in choreography, spins and interpretation, Chan's choreography consist of random movements from element to element, with zero relation to the music, zero story.
Just on Choreography, I'd have to say Chan does much better from a skating point of view, not necessarily from the point of view of dance audiences who don't care about skating values.
http://www.isu.org/vsite/vfile/page/fileurl/0,11040,4844-152086-169302-64121-0-file,00.pdf
For those who do care about the criteria for the Choreography component,
Purpose need not require a story. Abstract, formalist purposes are also possible, as well as simply establishing a consistent character or attitude or mood. It should relate to the music in some way, but stories and intimate relation to the music do not always go hand in hand.
Proportion would address issues such as frontloading or backloading, emphasis on jumps over other elements (or the reverse) or of elements over transitions (or the reverse).
Unity could apply to a consistent idea being maintained throughout the program, but it also refers to the continuity of the movement. E.g., a lot of stopping and starting would work against the unity.
Utilization of Personal and Public Space would suffer if the skater doesn't project beyond the limits of his/her own body, or to the spectators beyond the limits of ice surface -- not a problem for either Chan or Plushenko. But also if the performance is projected mainly to the judge's side of the arena, with significantly less attention paid to the opposite sides and the ends of the ice -- which has historically been a weakness of Plushenko's program construction.
Pattern and Ice Coverage refers to patterns of travel around the ice surface -- does the skater make big curves in both directions, as well as smaller curves and straight lines for variety? Surprising changes of direction? Does the skater visit all parts of the ice surface rather than favoring some parts and ignoring others? Are the jumps and spins spread out to various points on the ice or do they tend to be placed the same, often predictable, locations? This is one of Chan's biggest strengths, and not one of Plushenko's.
Phrasing and FormI think Chan and Plushenko are both good at this, although in different ways -- Chan's phrasing tends to be more subtle and Plushenko's more in your face. I'd have to go back and analyze specific programs to see how much is an effect of the program structure and how much of each skater's immediate reactions to the music, which would fall more under the Interpretation component.
Originality of Purpose, Movement, and Design This could include more large-scale originality in terms of music choice, program theme, etc. It could also involve smaller choices such as variations to elements, unusual ways of getting into or out of an element or getting from one point on the ice to another. I think Chan is significantly better at the small-scale originality, and neither of these two guys stand out for me on large-scale originality, though they each have had their moments.
I.e., the judges are looking at a lot of different things in evaluating this component.
I don't even want to compare spins and interpretation. Just FOR ONCE watch Plushenko lp from RN.
I think Plushenko's interpretation of the music tends to be significantly better than his choreography.
:: " Just a sign of love for the man who makes my lifetime a long and beautiful dream.." and "Tribute to E. P., who made my world a better place".
So your idol is no better than Chan. That's what I was saying.
