Nureki Chimuo Archive

This is a continuation of the previous post.

I need to write a little more about what happened during the filming of the Tomoshibi group.

Having shot between five and six thousand bondage photos and videos for commercial purposes, this was the first time I had ever completed a shoot entirely of my own volition, by reaching out to trusted staff and models, and without compromising to anyone or anything.

After the shoot, while we were having our wrap party at an izakaya called Akazatsuya, I told my three companions about this.

“Today is the first time I’ve ever shot purely based on my own tastes and will, without the greedy thought of trying to sell to ‘normal’ people outside the fetish community. In that sense, today is a memorable day of rebirth for Nureki.”

I repeated something to that effect over and over, changing my wording slightly each time, while thanking them in my heart.

In 1959 (Showa 34), when Minomura Ko asked me to take over the editing of Uramado, everything, from the photographs to the novels and other reading material on the text pages, was intended solely for enthusiasts.

Although it was, of course, a commercial magazine from a business standpoint, its target audience was clearly limited to enthusiasts.

I edited Uramado with only our enthusiast readers in mind.

I paid absolutely no attention to the general reader.

I aimed to create a magazine that would not be interesting to the general reader.

I even felt it would be a source of shame if the general reader found it interesting.

The authorities who regulated and cracked down on erotic magazines would say, “I have absolutely no idea what’s interesting about a magazine like this,” and mock me.

There were times when I even took a certain pride in being dismissed as clueless and mocked as a pervert.

As the magazine became increasingly shunned and despised by the authorities, its unconventional content was welcomed by readers who possessed an unconventional sensibility.

Around this time, the editors at Uramado, Minomura Ko, Yoji Muku and myself, were all people who possessed both a normal sensibility and an unconventional one.

As times changed, one reason SM magazines began to feature content aimed at ordinary erotic enthusiasts was the fact that they came to be edited by people who possessed only a normal sensibility and lacked any sensibility beyond the ordinary.

Even SM magazines edited by people with only ordinary erotic sensibilities, who were merely imitating what they saw, sold well as long as they were a novelty. They brought in profits for the publishers.

However, it was inherently unreasonable to have people from the world of common sense, who possessed only ordinary sensibilities, edit SM magazines aimed at enthusiasts.

(When I spent time with them, there were so many instances of such misguided thinking that it made me want to cry.)

Editors with only ordinary sensibilities inevitably end up incorporating the eroticism of ordinary sensibilities into the magazine.

They’d try to lift up the hem of a woman’s clothes to immediately show her butt, or make her spread her legs to shove something between her thighs…

Admittedly, for ordinary people, the eroticism of inserting something into a woman’s crotch is easier to understand.

Because it’s easy to grasp, it makes editing feel safe. It’s unsettling to present something to readers that you yourself don’t understand or can’t comprehend.

Rather than publishing a photo while tilting your head in confusion, wondering why a woman sitting in seiza with her legs closed while fully clothed is better than one standing

completely naked with her legs spread wide, it’s only natural to want to include the kind of eroticism you can clearly sense yourself.

Since I was involved with most of the SM magazines that were being published in large numbers at the time, I had a lot of dealings with editors like that.

Together with those editors, I’ve done thousands of bondage photo shoots.

Many of them were just working to get paid.

That’s only natural, really.

This applies not only to print publications but also the video industry. If an AV director with only a run-of-the-mill sense of eroticism forces himself to shoot a video featuring bondage scenes just to make a profit, it will only leave enthusiasts cold.

Huh?

Somehow, the conversation has strayed off track again.

I’ve gone on and on, writing nothing but irrelevant nonsense.

Old people really are hopelessly grumpy.

What was it I wanted to say?

If I keep writing things like this, this piece won’t be a “continuation of the previous one,” will it?

It seems that bondage photos and videos that fail to excite enthusiasts are still circulating, and I’ve been hearing complaints from them.

So, at that point, I decided, fully aware of my own arrogance, to really put my all into it and take some bondage photos that perhaps only I would appreciate. That was the beginning of Tomoshibi.

So, let me make one thing clear from the start.

For those who prefer conventional erotic sensibilities, this will likely be a completely uninteresting photo collection that makes little sense.

(Though I have no intention of showing it to anyone outside my circle.)

The only ones who will find it entertaining are my friends who share my tastes.

That is why, in the photos I took this time, the model remains fully clothed throughout the entire process.

I won’t even roll up the hems of her clothes.

There are absolutely no pointless, extremely unnatural acrobatic scenes, such as suspending her upside down.

I’ll use no more than three or four ropes at most. Fewer ropes have a stronger presence and allow me to express a more tantalizing eroticism of bondage.

This kind of sensibility would be completely incomprehensible to ordinary people.

Of course, I don’t expect them to understand. The fortress deep within our hearts is impregnable.

Because it is a sensory world that ordinary people could never possibly comprehend.

It is a sensory world that only enthusiasts, those possessing a flexible imagination, a rich sense of narrative, and a delicate, imaginative power capable of leaps of the mind, can accept and immerse themselves in with pleasure.

As I mentioned briefly last time, after tying Hiromi (Saotome) up against a pillar with her hands behind her back, Tamaru (Nureki) forced a double-knotted hand towel gag into her mouth. This scene really built up the tension and turned into something incredible, unlike anything we’ve seen before.

(For some reason, producer Nakahara was holding a video camera at this moment and recorded only this scene.)

First, I rolled up the handkerchief and shoved it into Hiromi’s mouth.

I used my fingers to force it in tightly.

On top of that, I used a hand towel tied into a knot in the center to hold down the handkerchief stuffed into her mouth.

However, the knot was too big to fit inside Hiromi’s mouth. Her mouth is small.

The handkerchief crammed between her teeth bulges out.

I pushed it back in with my fingertips.

Hiromi struggled, and the lump of the handkerchief bulged out again.

“The knot is too big. Let’s tear the hand towel lengthwise to make it thinner.”

In front of Hiromi’s face, I untied the knot and tore the long hand towel lengthwise in half to make it thinner.

This time, without making a knot, I placed the torn hand towel between Hiromi’s upper and lower teeth and tied it tightly over the handkerchief that was already stuffed inside.

The hand towel dug painfully into Hiromi’s cheeks on both sides.

Then, over that, I used another hand towel to tie a gag that covered half her face.

Hiromi’s expression as she writhed in agony, unable to breathe. After the shoot, Saotome told me, “My mouth is smaller than most people’s so I really struggled to breathe back then.”

As I wrote last time, producer Nakahara Rutsu captured this scene, which could be called one of the climaxes, accurately and delicately with a small video camera.

It is a passionate, clinging shot, focused on a close-up of Saotome’s upper body as she shakes her head up, down, left, and right, struggling to breathe and gasping for air.

When I watched the footage later, I was astonished by its eerie intensity.

I was truly impressed and thought to myself, “The person who shoots footage like this is no ordinary person.”

Come to think of it, this bondage scene is clearly the only punishment scene in this shoot.

I know of no other footage that portrays a scene involving simply having a gag forced into one’s mouth with such severity, brilliance, and a maniacal sense of realism.

There were many gag scenes in the Kinbiken videos I used to produce in the past, and while I’m sure they were filmed realistically and in detail, this time the footage is even more vivid, pulsating with a harrowing intensity steeped in the beauty of masochism.

Staring intently at Hiromi’s pitiful, masochism-drenched face as she writhed in agony from the tight gag, the two cameramen and I focused our attention as if possessed.

As she shook her head in distress, the gag loosened. I grabbed both ends of the hand towel once more and tightened the loosened gag with all my might.

Only this scene and a few other shots were recorded on video during this shoot. In that sense, this scene, with its extraordinary intensity, became a precious, exclusive asset of Tomoshibi.

Although the video only shows Hiromi Saotome’s upper body (her breasts aren’t even exposed) and the expression on her face, even when ordinary people see this gagging scene that has us trembling with delight, they’ll likely just mutter with a frown, “What a horrible thing to do.”

“What a pitiful thing to do.”

“What’s erotic or entertaining about doing something like this?”

“I just don’t get it.”

That’s probably all they’d think.

That’s exactly right.

Ordinary people just don’t get it.

(And that’s fine. After all, you are ordinary people.)

Even if we did something that ordinary people could understand, it would bring us no joy or satisfaction whatsoever.

Ordinary people possess neither the brilliant, abnormal imagination that allows us to expand and leap forward with such unbridled freedom, nor the power of fantasy to create tales of macabre romance in an instant.

We, who are not ordinary people, possess an extremely unique, unrestrained, one might even say perverse, ability that only we can possess.

That is why, in this scene of the gag, we can sense a dizzying eroticism ten times, no, a hundred or a thousand times greater than the eroticism ordinary people could ever dream of or act upon.

Huh? Are you saying you don’t believe it?

I suppose so. I suppose you can’t believe it.

Well, even if you can’t believe it, that’s fine, of course.

The content of our fantasies, to tell you the truth, is something terribly embarrassing that we could never carelessly share with others. Yet, it is also something we secretly take pride in.

Even if we’re called perverts and sometimes looked down upon, since God has granted us the ability to experience such luxurious pleasure. I suppose we just have to put up with it.

Oh, I’ve gone off on a tangent again.

Since the first shoot for Tomoshibi went better than expected, we decided to go ahead and do the second shoot right away.

And the person advocating for this most enthusiastically and vocally is, believe it or not, producer Nakahara Rutsu.

“Write the script for the next shoot. Sensei, stop slacking off and get writing!”

Right now, I’m being strictly urged on every single day.