Nureki Chimuo Archive

After reading my previous piece, “The difference between with rope and without rope,” Mika Suzume-san promptly sent me her thoughts. (I’m truly grateful. I’m always thankful.) After reading Mika Suzume-san’s letter, I thought to myself, “Ah, I see! That’s what it means!” This is the story of how my rope-patterned bag, which I had left in the care of a certain video production and sales company for twenty years, was stolen. Even if all twenty ropes currently in use were lost at once, there are always about fifty spare ropes readily available, so filming would not be disrupted. However, it was somewhat eerie that something that had been neatly stored on a shelf in the costume room of a video company had suddenly vanished. I deliberately wrote “Nureki Nawa” in large letters on both sides of the large red cloth bag I had bought as a spare, making sure it stood out prominently. Written in large, bold letters, it has a somewhat grotesque feel. And I placed twenty ropes inside it. I wrote last time that if it were this, no one would take it. However, after reading it, Mika Suzume-san commented, “if that’s the case, even more people will want to take it,” and I groaned.

“Why do I think so? Well, though you may not realize it, the name ‘Nureki Chimuo’ is a major brand among those who practice bondage. I imagine you’d say, ‘Eh, really?” upon hearing that, but it’s true, you see.” (omitted) “Therefore, for those who feel a fetishism toward ropes, I don’t think it’s a wild speculation that a well-used ‘Nureki rope’ could be sufficient motive for theft.” The above is a summary of the letter from Mika Suzume-san. Hmm! To be honest, I had never once thought that way. It’s true. It’s really true. There’s no way something so ridiculous could happen, I think to myself. But if I were to get all worked up and try to explain myself here, it would probably just come across as some kind of self-conscious snide remark, so I’ll just leave it at that. I never once imagined that my name, “Nureki Chimuo,” this vulgar, sleazy, lump of inferiority, could become a brand. To be perfectly honest, I’ve never once… However, I will gratefully and happily accept Mika Suzume-san’s kind words of encouragement meant to cheer me up. After this, Mika Suzume-san’s letter shifts to the topic of “the entire body being an erogenous zone,” writing, “From my experience, I feel that being bound with rope seems to heighten sexual sensation, but I wonder how it is for others.” This single line is something I am deeply grateful for. Please don’t think “what’s the point of bringing this up now?” The truth is, no one actually teaches you these things, these simple things. No one told me.

Though I pour my entire energy into it, binding their hearts with ropes, both Ishitani Hide-san and Rakka-san remain silent, saying nothing to me. Even when I ask, they won’t tell me. I suppose I could just tell myself that she’s too overwhelmed with pleasure to speak, and be satisfied with that. But honestly, I don’t have the confidence to believe it. It’s often said that the pleasure of SM leads to a self-centered mindset, a feeling that as long as you’re okay, that’s all that matters. But is that really the case? If it’s just about what’s good for me, does it really matter how the person giving me pleasure feels? What I’m hoping for from Masako Inoue, who will be modeling for Company C’s upcoming video shoot, is that she’ll respond honestly to my ropes and express her feelings openly. Since it was just an “interview” the other day, I couldn’t see Masako Inoue’s true self. An interview is essentially like a “hiring test.” Sometimes, without even realizing it, I might react in a way that tries to please the director, or myself. During the actual filming, I want to know Masako Inoue-san’s true feelings. I want to see her true reaction. Right now, I’m just thinking that. No matter how sincerely I tie up a woman, if she remains unresponsive, I start to feel uneasy. Even when tied up, the feeling of unease comes first, and I can’t feel good. My desire, however strong, begins to fade. This is my true feeling. (You see, it’s obvious. A man like me, who always wears such a carefree expression while restraining women, yet harbors such deep anxiety within. There’s no way such a man could be a “brand.”) But, Mika Suzume-san taught me, “From my experience, being bound with rope seems to heighten sexual sensation…”

Though brief, these words offer me important insight. I believe in these words, and I’m heading to the set for the next shoot. I focus my mind solely on enhancing the model’s pleasure, binding her and consciously aiming to stimulate her pleasure nerves by rhythmically tightening and loosening the ropes. Whether it’s “with rope” or “without rope,” if the model’s reaction is the same either way, I’d be left with no standing. If the model’s reactions were more erotic when shot without ropes than with them, I’d completely lose confidence and become so repulsed by ropes that I wouldn’t even want to hold them anymore. It has long been said that it is the audience watching the stage who nurtures the actors. Perhaps the key to training a rope technician to be truly effective lies not with the director or cameraman, but with the reactions of the model being tied up. I have a feeling that Masako Inoue-san, a model with such keen sensual responsiveness, will surely provide me with some new kind of stimulation. I am already fiercely resisting this idea that this filming session will consist solely of “rope-free,” or normal, sexual acts in the AV. I’ve secretly resolved to show them the effects and power of using just rope. I’ve been using expressions like “with” or “without” without thinking, but these aren’t terms we use, they’re specific to Company C’s site. You could say it’s one of our industry jargon terms56 . For example, during a whipping scene, the director might ask me, “Should we tie her up here? Or would it be better to do the whipping without restraints?” At times like that, I respond with something like, “Well, how about we shoot both versions with and without, then use whichever the director prefers during editing? For the “with” version, let’s bind her wrists high up, as if to whip her back and butt.” As you may have noticed, this isn’t a very good directing technique. The terms in question here, are アリ and ナシ, ari and nashi, respectively. These terms, outside of the Japanese AV industry at the time, mean “ant” and “pear.” I have no idea how these came to use in this industry.

If you were confident, you would have decided on one or the other from the start. Suggesting things like “Why don’t you just take the pictures with or without?” is a form of shifting responsibility. However, because it’s convenient, I end up speeding up the shooting this way. The truth is, we should prioritize the flow of the drama itself, and it should be determined by the skill of those wielding the whip and the quality of the models’ reactions. To reiterate, you must give her excitement and pleasure beyond normal sex. However, Director Y is truly the top in both ability and influence at Company C. This time, for his first directorial work in three years, he hired Masako Inoue. Before filming began, he had her interview with me, and she stirred my heart so profoundly. When you think about it, this is the director who produced an uncountable number of films (truly uncountable, twenty, thirty, or even more) for “Nureki Chimuo’s World of Rope” just a few years ago. Not only the World of Rope series, but also the magnificent drama series “Female Prisoner Fantasy.” All of these were based on my scripts. He is a director who knows exactly how to use me effectively. In contrast, there are magazines that only acknowledge me as a mere “binding machine.” My role is simply to bind the model’s body. The photographer handles everything else, the poses, the expressions, all by himself. The shoot proceeds based solely on the photographer’s preconceived notion of “SM form” while the bound model’s “emotions” and “reactions” are largely ignored. The model ceases to be human and becomes a doll. A bound doll. Well, if someone argues that ignoring a bound woman’s heart and turning her into a doll is itself a form of “SM,” then I suppose I have no choice but to accept it. I find myself thinking, “I see.” “SM” is truly a convenient concept. If you say this is SM, then most things end up being SM.

Therefore, mine is likely the opposite of “doll-binding” SM, a world of “rope play” that pursues and expresses the pleasure of a living woman. And (this is the most crucial point) I believe it is precisely this world of “rope play” that garners the support of the greatest number of bondage enthusiasts… So, having made quite a bold statement, what will become of the photoshoot featuring Masako Inoue, whose “selling point” is her “entire body as an erogenous zone?”