Nureki Chimuo Archive

Kayako Saeki, thank you very much for your kind letter. I’ve had a series of events I had to attend over the past few weeks, and while I was busy with those, I completely neglected to reply to your letter. I’m so sorry. It really is a case of “no time to spare.”

It was a truly luxurious and heartfelt letter from you, one that arrived in a glossy, thick envelope, on high-quality stationery edged with even more vibrant colors, with each character carefully written in pen. What’s more, a mail carrier on a bicycle trudged up three flights of stairs and delivered that beautiful package right to my door, a rare and thoughtful gesture these days.

The regular script characters, written with precision and sincerity, stroke by stroke, seemed to reflect your very personality, and I thoroughly enjoyed reading your letter.

At the beginning of your letter, I was delighted to read your thoughts on the film “Hostage,” which I wrote, directed, and starred in.

“...In the dim light, it felt as though even the dust and body heat were trapped there, and I sensed an intensely intimate, sensual atmosphere.

Just as you wrote in this magazine, I think it was a truly unique visual experience, devoid of conventional lighting.

And then, the final candle scene.

The flickering of the flame, framed by geometric rope patterns, was so beautiful that I found myself mesmerized.

Your Edo dialect was wonderful, too!

It reminded me a little of Kokontei Shinsho…”

(Note by Nureki. “This magazine” refers to “Mania Club.” I had the script I wrote for the production published in this magazine. In it, I had written down, more than necessary, the precautions for the shoot, persistently, in minute detail and in a rather nagging manner. And I had the production manager, the cameraman, and the cast read it a few days before filming.)

Kayako-san described the footage as possessing a “dense, erotic atmosphere” and featuring “hostages,” but that was precisely my intention. In the videos of this kind that are so common today, that “dim, erotic aura” has all but vanished.

Even when labeled “SM,” they ultimately go to great lengths to focus solely on the lower abdomen of the woman being tormented, pandering to the viewer.

Because they concentrate their efforts solely on creating footage resembling a “torture, cruelty, and endurance contest,” the “sensual” allure hidden within the human body has faded away.

The mysterious, sweet nectar of SM eroticism lies quietly enshrined within that “sensual” darkness, yet they refuse to turn their gaze toward that darkness (or rather, they simply do not understand the delights lurking at the bottom of that darkness).

While these “torture endurance contest” videos clearly demonstrate the incredible endurance of the female body, the essential eroticism has completely vanished.

Even when shown a close-up of two or three thick, phallic vibrators being forced into a woman’s genitals, I think “Wow, that’s impressive! She’s really holding up well!”

I find myself merely admiring her athletic-style endurance.

Even when watching footage of a woman suspended upside down with her legs spread in a V-shape, having an enema syringe thrust into her anus as liquid is injected, even if I’m startled by the acrobatic pose, I don’t really feel any particular eroticism.

Unless the inner world of a woman in such a position, that is, her psychology, is depicted, it’s just like watching a soulless doll floating in the air.

As I was writing this reply, I found myself wanting to make a sequel to “Hostage.”

Production (meaning all the work from thorough preparation before filming, through the shoot itself, to completion) will be handled by Sachi Yamanouchi and Nakahara Rutsu, just as in the previous film.

Since this is “Hostage 2,” the cast will also be the same as the previous film, Fuyuki Sawato-san and Shion Kasumi-san.

The cameraman will, of course, be the same as well. In short, the entire crew is from the Nureki Group.

Actually, the other day, at an event completely unrelated to SM, I happened to meet Sachi Yamanouchi and Nakahara Rutsu, and we ended up talking about the time of “Hostage.” As usual, we had a great time, and I got a little carried away and said, “Shall we shoot the sequel to ‘Hostage’?” “Let’s do it! When we finished the last shoot, you said right away that we should do another one, didn’t you, Sensei?” “Besides, that video ends with the words ‘To Be Continued’ at the very end.” “Oh, that’s right. Alright, let’s do it.” And that’s how it came to be.

But right now, I’m in the middle of writing a five-volume series titled “The Story of Minomura Ko” (working title) for Kawade Shobo Shinsha, so I’m not sure if I’ll actually have the time to shoot the second part of “Hostage.”

(What’s more, I’m co-authoring this “Story of Minomura Ko” with Nakahara Rutsu.)

But if those two beauties, Yamanouchi and Nakahara, were to corner me again, I’d probably put my writing on hold and get the filming done first.

(I like them, after all.)

That’s right, next time we film, please have Kayako join us on set as part of the crew. And please come up with plenty of lewd ideas while we’re there.

Whoops, somehow the conversation has strayed off topic again. No matter how old I get, I just can’t settle down.

Kayako Saeki, I was really happy to read the part in your letter that said, “...Your Edo dialect is wonderful too! It reminded me a little of Kokontei Shinsho.”

Actually, I’ve been told that before. It was said to me by a professional comedian who performs on stage every day. It made me happy.

Yes, of course I like Shinsho. I’ve been familiar with Shinsho’s performances since I was a child. I was even in the audience at Suehirotei in Shinjuku when Shinsho came out drunk, mumbled incoherently, and fell asleep right there on stage.

(Back then, I was working every day as a hired hand on the sets of bondage photo shoots for SM Select, SM Collector, and SM Fan.)

I’m the kind of person who doesn’t have a single thing to brag about, but I am good at telling stories in the Edo dialect.

The events I host, not as Nureki Chimuo, are actually storytelling performances using the Edo dialect. I do all sorts of things.

My long time friends, Yamanouchi Sachi, Nakahara Rutsu, and Saotome Hiromi, all know this.

The next time I hold such a gathering, I’ll slip an invitation to Kayako-san as well. However, this must remain a strict secret. If people confuse the name I use for my storytelling with my work as Nureki Chimuo, it leads to all sorts of unpleasant situations.

There was an acquaintance of mine who does storytelling who knew that Nureki Chimuo and I were the same person, and they went around spreading the word everywhere, which caused me a great deal of distress.

(I seem to recall writing about this quite a while ago in this “Talking Theater” as well.)

Oh, I’ve gone off on a tangent again.

For now, I’ll just apologize for the delayed reply and leave it at that.

Strictly speaking, I should have started by thanking you for the copy of the “Isis’ Backyard” from the Daydreaming Girls Club that you sent me.

I did indeed receive it via the Director of the Sex Industry Museum.

Congratulations. You’ve produced a splendid magazine with such rich content. I’m truly delighted for you.

In the previous installment of this “Talking Theater,” I was so excited after reading it that I immediately wrote my thoughts on the content, and in doing so, I missed the chance to express my gratitude, which has left things a bit jumbled. Please forgive my rudeness. I’ll write more about “Isis’ Backyard” another time.