Nureki Chimuo Archive

2007.09.11 濡木痴夢男のおしゃべり芝居 第十一回 Nureki Chimuo’s Talking Theater Chapter 11 永井なつという美少女 Natsu Nagai, a beautiful girl This time I thought I’d try something different and write in the form of a personal letter. I said it was in the form of a personal letter, but in truth, this is not merely a “form.” It is something I actually intend to send. However, please consider the text in parentheses as my “explanation” to those reading this “talking theater,” or as my “secret monologue.” The recipient of this letter is a director who has produced numerous so-called “SM videos” in the adult industry. I, Nureki Chimuo, have also assisted him on countless occasions. “AV Style” refers to companies that produce SM dramas where sex scenes are always included in the storyline. In other words, the “kinbaku videos” we produced at Kinbiken contain absolutely no sex scenes or vibrator insertion scenes, so they cannot be called AV-style. By the way, the term “AV-style” was actually coined by my esteemed friend, the painter Nagasaki Tetsumu. It's an apt, concise, and convenient term, so I frequently use it myself. I’ve gone on too long with the preamble. Now let’s get to business. Shinichi Kawamura-sama. Thank you for yesterday. You must be exhausted. Outside the studio, a long, long day passed with the unsettling rain of an approaching typhoon falling intermittently with a fierce sound. After filming wrapped up, I promised to mail you the flyers and programs for my stage performance this fall as I was leaving. I’ll include the tickets too. Showing this ticket will naturally get you in for free. However, the “K no Kai” performances are consistently packed to capacity every time and, if you arrive late, the doors will be closed and you will not be able to get in. You literally won’t be able to enter. For these two performances, I appear under a different name, not as “Nureki Chimuo.”

As you are well aware, only about 5 percent of my work involves bondage-related activities, while the remaining 95 percent consists of completely unrelated endeavors. This fall’s performance falls squarely within that 95 percent. Come to think about it, a few years ago, when I appeared in that 95 percent of the work, you and Kujo Mikage both made a special trip to see it. Thank you for that.

Do you remember that night after the show ended, when I guided you and Kujo-san to Asakusa by taxi and we drank Denki Bran beer and had dinner at Kamiya Bar? I met Kujo Mikage-san at the venue for the “Itoh Seiu Sketch Exhibition” the other day and, on the way back, we raised a toast to our reunion at a nearby izakaya. To my surprise, even though I thought she must be quite a bit older now (sorry, Kujo-san), she looked slender overall and more beautiful than ever, radiating a captivating glow. Rather than charming, she possesses a mysterious quality, one of those people who become endearing simply by being present, even without saying a word. The five percent of people I have the privilege of knowing all share this quality: even in silence, their souls somehow connect, and they radiate a mysterious aura that makes them deeply endearing. I’ve always wanted to wrap my arms around Kujo-san’s shoulders someday and at least kiss those small, perfectly shaped lips. But when I meet her, I get overwhelmed by her aura and I can’t muster the courage. Huh? I wasn’t supposed to bring this up. I was going to talk about yesterday’s shoot. I’m just too chatty for my own good. My mind keeps wandering off to other things. But, since the title of this piece is “The Talking Theater,” there’s nothing to be done about it. Yesterday’s shoot, that’s right. What I meant to write about here was yesterday’s shoot. Beyond this point, I think it’s best for anyone who isn’t a “bondage enthusiast” to not read further. If you’re not a bondage enthusiast, reading this will probably be boring. You’ll just get bored. Even if you do read it, I doubt you’ll understand much of it. But for those who are into bondage, what I’m about to write will definitely be interesting. Actually, to be honest, rather than reading this piece of mine you should buy and watch Director Kawamura’s finished film, the one I shot yesterday, which I am about to edit and add music to. I take full responsibility. This is a video where you can immerse yourself in the pleasure of kinbaku, one that absolutely will not disappoint, even if you pay money to buy it and spend precious time watching it.

I consider the video footage featuring Kujo Mikage that we shot at our “Kinbiken” to be the ultimate “kinbaku footage.” But I believe this new work by Kawamura rivals that masterpiece. Oh, no. What on earth? This text was supposed to be a private letter to Director Kawamura. Somehow its target audience has shifted to “The Talking Theater.” To make matters worse, it’s even promoting a video. This is where my carelessness lies. I’m sorry, Director Kawamura. Once again, I’ve exposed myself as a simple emotional being, neither rational nor logical. At this point, I’ll just write whatever comes to mind, in no particular order. The girl who appeared before me during yesterday’s shoot was named Natsu Nagai. Natsui Nagai is neither her real name nor a model name. It’s a name I made up just for this piece, a name that exists only here. The reason I do this is because I’m afraid of causing her trouble if anything happens. Previously, in an article for a magazine, I praised a model named ○○14 by name, writing “She’s wonderful!” Then, ○○ was called to another video shoot location: “You’re the kind of model who got praised by Nureki Chimuo, so you must be fine with anything done to you. You’re a real masochist, aren’t you?” She was told all sorts of things and subjected to various acts of violence, leaving her scarred both physically and mentally. The name “Nureki Chimuo” sometimes takes on a life of its own, leading to misunderstandings among SM video producers who misinterpret “SM.” “Any woman who can endure Nureki Chimuo’s torment is a masochist who can take anything. The more she’s tormented, the more she enjoys it.” They are perceived as such and are tormented and punished with full force. Surprisingly, many people believe that, unless it’s done “for real,” it’s not SM. It’s troublesome because such people exist even among perfectly ordinary, kind-hearted, sensible individuals. This is one method in Japanese to anonymize a person’s name.

No matter how “serious” we pretend to be, it’s ultimately just “play.” That game is called “art” in other words, but when it comes to SM, some people can’t tell the difference between “serious” and “play.” There are SM video producers who believe that masochistic women won’t be satisfied unless they are punished and hurt “for real.” I was resented by that model named ○○. “The reason I suffered so badly was because Nureki Sensei praised me and wrote that,” she said. I merely wrote about the eroticism of ○○’s splendid reactions while intoxicated by my ropes. Come to think of it, an editor at an SM magazine once told me, “I don’t believe in the beauty of bondage. What kind of beauty is it to tie a woman up with ropes? It’s nothing but self-indulgence, isn’t it?” Since that incident, I’ve made it a rule to never write the real name, let alone the model name. I create fictional names so no one can recognize them. That’s why I’ll refer to yesterday’s model as “Nagai Natsu.” It’s a name even she herself doesn’t know. Yet she exists. Because yesterday, inside a certain studio, I spent the entire day tying her up relentlessly in front of the camera held by Director Kawamura himself. Nagai Natsu. A 19 year old student. She studies economics. She possesses a beauty reminiscent of Kujo Mikage. In terms of celebrities, she has a face like Yumiko Shaku. Upon closer look, she also had a childlike face and an innocent charm. Calling her a beautiful girl might be more accurate. She has fair skin, a clean appearance, and her skin has a vibrant, youthful glow. She possesses an intelligent cuteness. From the start, I tied her hands behind her back against a pillar in the corner of the studio, her garment wrapped head to toe in a garment resembling an Ao Dai15 , the kind often worn by women from Southern countries. In other words, this video shoot starts with me appearing right from the beginning. I suppose it will be edited dramatically later on, but anyway, she suddenly found her hands bound behind her back. The moment I crossed her wrists behind her back, tied them together loosely, and brought the rope around her chest, all the strength drained from her body. She went limp, her knees buckled, and she nearly collapsed. Producer N-kun saw it happening and shouted, “Oh, she’s falling! Support her!” He was the first to dash in front of the camera and catch her. “Humm, that was fast,” I couldn’t help but mutter. Ao Dai is a traditional Vietnamese garment

“Nureki Sensei, this girl is very sensitive to rope. She’s been looking forward to being tied by you. Anyway, I’m leaving this shoot entirely up to you.” That’s what the producer, N, had been telling me beforehand, so I knew she had strong masochistic tendencies. But I never imagined she’d react this strongly before I’d even finished tying a single rope. Director Kawamura had already set up the camera and started rolling by then, right? Yesterday at 10:30 AM, I went straight to the studio in Shinjuku. In the spacious second floor waiting room, I was drinking bottled tea brought by the AD (assistant director) by myself. Then Director Kawamura came down from the third floor studio and greeted me: “It’s been a while, you’re early.” I replied, “Yes, N-kun told me to come sometime between 10:30 and 11:00…” At that moment, the director, who usually wore a cheerful, peaceful expression, looked strangely somber, not just gloomy but deeply troubled. Huh, I wondered, what’s wrong. The reason for that gloomy expression became clear immediately. It was because the specific concept and plan for today’s shoot hadn’t yet been organized in the director’s mind. Unlike the usual models and actresses, today’s “Nagai Natsu” seems to be quite the “rope-loving girl,” so he was apparently puzzling over how to incorporate that personality into the drama and agonizing over it. (I’m sorry if I’m wrong, Director. But that’s pretty much how it is, isn’t it? You’re always the type to seriously agonize and think through things at a time like this….) So, I poured out the water of invitation. “I haven’t met today’s girl yet, but I hear she’s a good kid.” “Yes, she is. I’m thinking about how to shoot her best,” the director replied. Just as I thought, I immediately made a suggestion. “It’s a trope we’ve done many times before, but what about this: a girl who yearns to be bound, who dreams of being tied up beautifully and pleasurably. A man (could be her lover) finds out about her and brings her and brings her to Nureki Chimuo’s place to make her dreams come true… How about that? After that, it just becomes the girl and the man, and, well, you can figure out what happens next…” At my suggestion, the director immediately brightened up, saying, “Let’s go with that. That’s the best idea,” and smiled. I may have boasted about my suggestion but, truthfully, it was all I could do.

We went up to the third floor studio and began the shoot. Though it was our very first meeting, I found formal greetings a hassle (I’m like that everywhere, all the time, with anyone), so I simply grabbed the rope in one hand and said in an extremely casual tone, “Come over here. Now, you’re going to be tied up.” And once the rope was tied, all the strength drained from her body, and she nearly collapsed limp. Actually, before Director Kawamura’s drama shoot began, the still photography for packaging and other materials was handled by a different photographer, lighting technician, and producer. The first time I tied her up with rope was during that phase. However, explaining these details would make things messy and difficult for readers to understand. Since this also involves internal company matters, I’ll omit it. Director Kawamura, however, had been diligently rolling the video camera since the shoot for this package. Therefore, this scene will naturally be edited into the video footage. (If I wasn’t in it, I’d be pretty bummed too, Director. Please put me in. But you were probably shooting from quite a distance, probably out of consideration for the still photographer.) Anyway, this scene is fresh and powerful. It’s a great moment where the inner world and overall character of Nagai Natsu, this beautiful girl who’s being tied up for the first time and reacts instantly, comes across effortlessly and naturally. It was shocking for me too. (Oh, I really want this scene included. And I want all the true bondage enthusiasts to see it. I want to shock them, get them excited. Director, please, include it! Don’t cut it out!) But you know, if the producer decides that scenes of a beautiful girl getting naked, spreading her legs, and shoving a vibrator inside her sell better than scenes of her getting tied up and passing out, then my wish will be in vain. If someone told me that a three-minute tape of a beautiful girl whimpering and crying with a vibrator shoved between her legs would sell better than one showing her ecstasy while bound, I’d have no choice but to be silent. How many times have I endured this kind of heartbreak? After all, this is an era where you find SM magazine editors declaring things like “I don’t believe in the beauty of bondage.” But “beauty” is just another word for “eros,” you know. I had intended to write this as a private letter to Director Kawamura, but somehow it ended up becoming an explanation for readers of “The Talking Theater” and then a private letter to the director again. It lacks consistency.

At this point, I’ll write whatever I want, however I want; no particular order (meaning no particular order of filming), and for whoever happens to be reading. So, this section continues.