Nureki Chimuo Archive

Fuyuki Sawato, did you get a chance to read our last spoken word play, “The Tomoshibi-za Moves?”

We’ve decided to film you for our next “Tomoshibi-za” production.

As for Tomoshibi-za, it’s pretty much as I described last time, but I’ll go over the finer details when we meet next time.

The new location where we’ll be photographing you is quite impressive, unlike the typical commercial studios that have been meticulously set up to look exactly like the kind of place where you’d usually pose as a model.

By “quite something,” I mean it’s wonderful.

Just stepping inside, you’ll feel a deep resonance that really resonates with your heart and gets you excited.

As for me, the moment I glanced around the room, I moaned, “Whoa, this is incredible! This is absolutely amazing!” and I got an instant erection.

Just stepping into the studio and breathing in that air was enough to give me an erection, so you can imagine just how intense the atmosphere is.

Huh? You say you can’t possibly imagine it just from that?

Oh, right. Since what you’ve experienced in the past were strictly commercial rental studios charged by the hours, it might be hard for you to picture.

Rental studios, while the backdrops and furnishings are set up to look the part, generally lack a sense of life, feel cold and impersonal, and, in short, lack realism.

To put it bluntly, even if the scenery looks convincing, no matter what you do there, it’s nothing more than a space devoid of human spirit.

And when you can’t sense human spirit, it means that no matter how much you tie up a beautiful woman in that space, her presence will feel thin and insubstantial, resulting in photos that look staged, artificial, and shallow, with a cold, lifeless quality.

In contrast, this time’s shooting location, the Yamanouchi residence, is incredible.

What’s so incredible about it? Well, actually, I’d better not say it here.

On the day of the shoot, I’ll take you there and let you see it for yourself right away.

When you come into contact with that space, that feverish, intensely human atmosphere, I wonder what kind of reaction you, with your sharp reflexes, will have.

(Hehehe… I’m really looking forward to it…)

You’ll probably gasp, “Oh!” and stand frozen at the entrance to the room for a while.

You’ll feel the texture of my ropes, even before I’ve done a thing, as a tangible sensation.

That said, I don’t intend to do anything terrible to your body. My ropes should be just the same as always.

I have absolutely no desire to make you the heroine of some “Cruel Torture Endurance Contest.”

I don’t like spaces decorated with what might be called a “triangular wooden horse,” leather or wooden restraints, or shelves lined with whips. Those kinds of things that look terrifying at first glance.

To me, those items can’t help but look like tools used by people who lack confidence in their rope work, serving only to prove their lack of confidence.

(My apologies to those who enjoy such torture devices.)

I automatically steer clear of photo books that go out of their way to feature that kind of torture device on the cover. I can pretty much guess what the photos inside will look like.

It’s bound to be full of pushy scenes where a model is tied spread-eagled with some foreign object inserted between her legs, as if to say, “Look at this, how amazing is that?”

To be honest, I’m not really a fan of either the videos or photos from “Cruel Torture Endurance Contests.”

Photos created using overly elaborate, showy rope work that serves little purpose, combined with binding techniques devoid of any sense of pathos or emotion, are a far cry from the bondage works we enjoy.

They may look similar, but they are fundamentally different.

Just to be clear and avoid any misunderstanding. No matter how much we rope enthusiasts may dislike them, there are certainly people who enjoy that sort of thing, so I would never condemn them.

We simply feel that it differs quite a bit from what we, as rope enthusiasts, prefer.

I produced a video called “Kinbiken Video” in the past, and that work received enthusiastic support from many bondage enthusiasts.

Therefore, I believe I have a good understanding of what kind of works bondage enthusiasts prefer.

This is because my own preferences align perfectly with those of rope enthusiasts.

To fully showcase my personal preferences, I asked Sachi Yamanouchi-san, whom you know well, to handle the camera work for this project.

After consulting with Director Nakahara Rutsu, I boldly requested, “Yamanouchi-san, I’d like to shoot the model Fuyuki at your home.”

The other day, I went on a location scouting trip with Nakahara-san, and we came back deeply moved and thrilled. That’s how it all came about.

There is a bimonthly magazine called “SM Net.” In every issue of that magazine, I write a column on bondage titled “Dear Editor, this is Nureki Chimuo, Bondage Specialist.”

Attached to each installment of my column is a photograph by Sachi Yamanouchi.

And as you are well aware, the model in all of these photos is none other than you, Fuyuki-san.

I really love this photograph of you taken by Yamanouchi-san.

To be honest, I actually feel a sense of revulsion toward photos of naked women with their legs spread wide apart and covered in tangled ropes, but looking at this photograph taken by Yamanouchi gives me an erection.

(The reaction of a rope fetishist is simple, obvious, and almost embarrassing.)

The reason I love this photo is that Yamanouchi has naturally acquired, without being taught by anyone, the most crucial sensibility for a bondage photographer. The ability to enter the inner universe of the bound woman and press the shutter.

This is a style of photography that old-school professional photographers, who can only see a bound model as a mere subject, simply cannot imitate.

I’m completely clueless about technology (I don’t even own a cell phone, let alone a computer), and I know absolutely nothing about camera mechanics or technical aspects, so I can’t really explain this part well. It’s a shame I can only put it this way.

While holding the camera, Yamanouchi-san’s spirit enters the mind of the bound woman, and he becomes one with her.

I may not understand the technical aspects of the camera as a machine, but I fully understand the photographer’s feelings at the moment the shutter is released.

By penetrating the mind of the bound woman and assimilating both the pain and pleasure of the ropes into his own senses, photographer Yamanouchi sensitively perceives the model’s subtle physical and mental movements and reactions.

That is why she, Fuyuki-san, is able to take excellent bondage photos without missing your exquisite, fleeting shutter opportunities.

A photographer who can only capture the model’s superficial pain or pleasure cannot reach the depths of the model’s soul.

How could a photographer who cannot personally experience the bound woman’s pleasure and sweet pain possibly take good bondage photos?

I wonder how photographer Sachi Yamanouchi will capture, in that captivating space where she lives and breathes, Fuyuki-san’s new beauty of masochism, that sensuous beauty that responds so flexibly, in such a tantalizing way.

It’s been a while, but I’m getting chills.

Fuyuki-san, the day of the shoot is drawing nearer by the minute.

How are you feeling right now?

Oh dear, ever since last time, I’d intended to write about the characters in this “Talking Theater,” especially the members of “Tomoshibi-za,” without using honorifics, yet somehow I’ve ended up using them this time.

No matter how close a relationship I have with someone, I simply cannot address others, especially women, without honorifics.

No matter how much I bind a woman, I am, after all, a feminist.