Nureki Chimuo Archive

I had become interested in “Ancient Rope-Tying Techniques” and intended to experiment with it using reference materials, and report my findings. But, somehow it just turned into me and a woman named Rakka enjoying ourselves. Since I was writing about it in detail, the same scenes ended up going on and on.

The bondage play with Rakka-san that day only lasted four or five hours at most, but the writing still isn’t finished. I’ve only reached the halfway point. But then again, anyone reading this might think that this man, Nureki Chimuo, spends every single day, day after day, playing nothing but this kind of bondage game with women he fancies. But that’s not true. If I did it every day my body wouldn’t keep up (considering my age.) For one thing, I’m writing about my time with Rakka-san as a continuation of the “Profile” I posted first. But writing in such detail like this, I’m afraid I’ll end up exposing everything, front and back, let alone just a “side profile.” I’m still working as a rigger on video and magazine bondage shoots, doing that kind of work. I also write manuscripts. I do things completely unrelated to SM too (actually the unrelated stuff makes up the bulk of my work.) So, this time, I’ll take a break from writing about Rakka-san and instead share my experience from the shoot I did yesterday. To be honest, I didn’t want to write about this. I wasn’t confident I could make it interesting. I thought writing about it would be pointless. I try not to write about things that are pointless. But my manager, R, says, “You must write about that experience and how you felt at the time, Nureki Sensei. That is your mission now, living in the SM world.” “Mission? I don’t feel any sense of mission, you know. Besides, what is the SM world? The commercial SM world? The business SM world?” “Does it really matter which? You must write as a witness living within it now.” “Witness?” “Yes, a witness. You must write as a witness for future generations.” “Future generations? I’ve never given that a thought.” “Anyway, write about the filming locations sometimes. You used to write about them a lot, didn’t you? But let me warn you: don’t write anything bad. Don’t anger the sponsors. If you write bad things, you won’t get work afterward. Only write the good stuff.” “Only write good things? That’s tough.” “Write them anyway. That’s your mission Nureki Sensei.”

“Mission again? I don’t feel any sense of mission, though.” “Just write it.” “Yes, I will!” R is scary. I’m currently indebted to her for something else. That makes her even scarier. By indebted, I mean she’s organizing my entire body of work from the past fifty years and creating a chronology for me. This is an incredibly involved task. So right now, I absolutely can’t hold my head high. That said, I’ll write about yesterday’s filming location. R, rest assured, I will absolutely not speak ill of those who give me money. How could I possibly badmouth the kind people who offer work to an old man like me? I have that much common sense, you know? That said, I must admit I lack confidence. I enjoy speaking ill of others more than most people. It’s fun to criticize. And for readers, criticism is undoubtedly more entertaining. Just stringing together endless compliments is boring as hell when you put yourself in the reader’s shoes. (My previous post, “Nothing but Praise,” was just a list of compliments; my apologies. I’m sure it was terribly boring. I apologize.) If you’re going to badmouth someone without mentioning their name, it shouldn’t matter. If no one knows who you’re talking about, no one should get angry. I really want to write something mean. Okay, I’ll do it. I’ve been working with the same AV director for 20 years. He’s a good guy. Because he’s a good guy, someone like me, tough on others but easy on myself, has managed to work with him for 20 years. This director desperately wants to make an SM drama worthy of praise. His passion rubs off on me, and I end up helping out on set. But the moment filming starts, this director suddenly loses all grasp of SM. He pretends to understand, but he really doesn’t. For 20 years, I’ve explained SM to him and taught him the specifics. Yet he still doesn’t get it. It’s not as if he dislikes SM in and of itself (I know several directors and editors of SM films and magazines who despise SM and hate it even more. I plan to spill the beans on those behind-the-scenes stories bit by bit from now on.) Right after, I told this director, “I see. I understand perfectly. SM is really fascinating, isn’t it? When you delve into the roots of human psychology, you inevitably stumble upon it and end up with SM. To deeply explore and depict human sexuality, SM dramas are the most appropriate medium. Yes, it’s really interesting!” And so on, spouting off like a know-it-all.

Oh, I wonder if this guy gets it, I think to myself, only to be disappointed immediately. Once filming begins and it comes time to strip the adorable actress naked and direct her actions, he instantly reverts to his original self, a simple pervert director. “Simple pervert” is short for “simple lecher.” For example, during a “nostril torture” scene, it goes something like this. Direct the male actor to hook a wire hook into the actress’s nostrils. A thin string is attached to the hook. While having the actor pull that string, “Hey, you’re a pig woman. How can you not be ashamed with such an ugly nose? What an ugly pig woman you are. Oink, go ahead and oink, there you go, oink oink oink!” He makes the actress crawl around. At this point she is completely naked. She crawls around on all fours, grunting and groaning. Her plump buttocks wiggle and jiggle. “Your name is pig woman. Oink more. Oink, oink!” He makes the male actor say even worse things. I can’t stand by and watch, so I step in and warn him. “Gon-chan (the director’s nickname), that line’s wrong. What nose torture enthusiasts enjoy is using torture devices to lift a woman’s nostrils, stretching them open or deforming them. The expression on the woman’s face at that moment is adorable. It’s erotic. It’s incredibly sexy. In other words, the essence of a nose torture enthusiasts is a nostril fetish. That’s why you have to say, ‘adorable, adorable’ and praise her.” No matter how much I warn them, the camera is already rolling. The actress, made to crawl around like a pig, moves her butt in an erotic way, exciting the director. He snatches the camera from the cameraman and starts filming himself (porn directors often do this.) “Yes, like this?” The actor knows his role, rubbing the tip of his erect member against the actress’s nose. She opens her mouth and takes it in with a wet gulp. The nose play gradually transforms into a blowjob that continues endlessly. The director placed a dildo in the actor’s hand, “Reach out and insert this thing into her from behind.” He orders. The vibrator is coated in lubricant, allowing it to slide smoothly deep inside. The actress, still wearing a nose gag, is forced to give a blowjob while simultaneously being penetrated from behind by the vibrator, a rather lively scene indeed. “Good, good, that’s the spirit, this is SM, good!”

The director, in high spirits, handed the camera back to the cameraman and eagerly watched the vibrator’s effect as it plunged deep into the actress’s genitals, pulsing, thrusting, writhing and humming continuously. Writing it this way, this scene is bound to come across as incredibly exciting to readers. Once completed as a single video, it will likely be genuinely thrilling and arouse the “majority” of men. However, the scene intended for the “minority” of nose-play enthusiasts somehow fizzles out. That’s why this director’s films get such good reviews and strong sales. He’s in high demand across companies, reportedly shooting almost every day. Porn exists because it sells; porn that doesn’t sell will see both its directors and distributors disappear. This Gon-chan director probably has some interest in SM, but when push comes to shove, he completely disregards any twisted depictions of SM and focuses his mind entirely on making “marketable” videos. It’s only natural, I suppose. Using someone like me is only for when you want to make a porn with a different flavor for a change. That’s fine. So don’t ask me solemnly, “what exactly is SM?” Just use me when you simply need a bondage scene. It’s because you get all pretentious and ask things like, “What is the true essence of SM?” that I end up getting serious and answer. Generally, SM is an innate sexual preference; it is not something you learn to understand through study. An SM enthusiast is an SM enthusiast from the moment they become aware of things. The very fact that they don’t know why they became an enthusiast is what makes them an SM enthusiast. Any SM enthusiast who clearly understands the reason they became one is fake. Well, this is the kind of shoot we were doing yesterday. The director is an honest, considerate person with a talent for capturing the female form erotically, a genuine good person. That’s why I always think they shouldn’t half-ass things like SM. But, by using me, I get paid, I get to tie up young, beautiful women, and I’m truly grateful for that. I should be sincerely thankful. But doing nothing but these kinds of shoots is starting to stress me out. That’s why I feel like creating a little pamphlet titled “The Aesthetics of the Minority,” and why I want to do whatever I please with a woman like Rakka-san, who understands. That’s how it is. Good. It didn’t turn into a rant! If it’s just a little bit of gossip like this, Gon-chan is such a nice person, he’ll definitely use me again. And I won’t get scolded by my manager, R, either.

Tomorrow, I’ll be hired again by a certain unit at a certain video production company to go to a certain studio. The certain director tomorrow is also a colleague I’ve worked with for over a decade and get along well with. So no matter what kind of SM video gets made, I couldn’t possibly write anything bad about it.