Nureki Chimuo Archive

I met Hide Ishitani again.

This young, beautiful married woman is described in detail in issues 40 through 45 of the “Nureki Kinbaku Diary” series in SM Sniper.

The titles at that time were “The Beauty of Married Woman Hide Ishitani” and “Hide Ishitani’s Top-Secret Footage.”

This text was later compiled and reprinted in the sixth volume of my paperback collection published by Kawade Shobo Shinsha, “Bondage: As Long as I Live.” If you are interested, I highly recommend you take a look.

I used to meet Hide Ishitani quite frequently for a period, but we had lost contact for about two years.

Hide-san is a married woman who values her private life (or so I respectfully surmise).

I don’t know her real name, address, or phone number.

She didn’t tell me, and I didn’t try to find out.

Come to think of it, I never saw her with a cell phone. Of course, I’m also someone who doesn’t carry a cell phone.

I know absolutely nothing about her past upbringing or background. I have no desire to know.

“I’m a married woman,” she said at the beginning, so that’s simply why I think of her as a married woman.

She might not actually be married at all. Whether she’s a married woman or a single woman, I couldn’t care less. Truly, I couldn’t.

“Please call me only when you feel like it,” I told her.

“When you feel like it,” means, to put it plainly, when you feel like being bound by me.

Writing it out like this might make me seem like a terribly arrogant person.

But I take great care not to give that impression, speaking gently.

So she probably never thought of me as an arrogant man.

“I absolutely won’t call you, so you don’t need to give me your number,” I also told her.

Depending on how you hear it, this too could be an arrogant thing to say.

Some people would probably take it as arrogant and haughty.

It can’t be helped. I’m just that petty of a person.

If she doesn’t call me, then that’s the end of our relationship.

And so, two years passed.

Unless she called, the connection was severed, and completely blank days passed.

Oh, no.

I’ve gone and written a whole bunch of unnecessary stuff again.

There was no need to go on and on about her from two years ago.

I must hurry on.

Anyway, she suddenly called me out of the blue.

We met again at the coffee shop in Yokohama’s Minato Mirai district where we used to often meet up.

We talked.

And then, after two years of silence, she agreed to film “Hide Ishitani’s Top Secret Footage,” the very thing she’d vehemently refused, shaking her head fiercely and saying “no” no matter how much I begged her.

I don’t want to know what happened to her during that time. I have no interest in such things.

Before me is Hide Ishitani, who has agreed to be filmed.

That’s all there is to it.

So I intended to write about that filming, starting from the very first line.

But, as is my usual habit, I ended up with an unnecessary, lengthy “preamble.”

I still talk too much, always veering off on tangents. That’s why it’s a “talking theater.”

Fuji Planning, the company I’d wanted to commission for filming “Hide Ishitani’s Top-Secret Footage,” had quietly ceased production activities.

The reason I chose Fuji Planning to film this “Top-Secret Footage,” where I bind and torment my partner with my entire being, is also detailed meticulously within the Kawade Bunko collection.

I wrote it down with passionate fervor.

In short, the filming consciousness, attitude, and methods of AV-style SM production companies have sunk to the depths of utter cliches.

Only mass-produced images far removed from the true desires and feelings of enthusiasts are churned out.

I didn’t want to entrust the crucial filming starring Hide Ishitani to staff accustomed to producing such images.

But I can no longer ask Fuji Planning, which has ceased production activities.

After thinking for a moment, I remembered the existence of Ako, a female editor I was acquainted with.

She is the Ako who appears in the “Reader-Submitted Top-Secret Footage” section of the Kawade Bunko.

This Ako understood my half-playful filming intent, which had occurred to me on a whim, and even volunteered to be the camerawoman.

Thanks to her, two years ago, I was able to create the “Top-Secret Footage” featuring Hiromi Saotome almost exactly as I’d envisioned it.

Enthusiasts treasure their preferred images as unique and irreplaceable.

This feeling is incredibly intense, to a degree ordinary people can’t believe. That’s why they’re enthusiasts.

I’m still grateful to Ako for shooting almost exactly as I envisioned, and I feel indebted to her.

If it were Ako, she would surely understand how I feel now.

She would undoubtedly film “Hide Ishitani’s Top-Secret Footage” exactly as I imagined it. No, not exactly as I imagined, but as close to my own vision as possible.

They say you should strike while the iron is hot. I immediately introduced Hide Ishitani to Ako.

And just between the three of us, myself, Hide Ishitani, and Ako, this project was set in motion.

And so, this explanation of how things unfolded might just have been another one of my usual detours.

I should have written down the specific scenario at the filming location of “Hide Ishitani’s Top-Secret Footage” much earlier.

No, not a formal script, but rather a memo.

This memo is what matters most. I pour my soul into this memo first.

First, the filming location.

That is, the place where Hide Ishitani would be bound and tormented.

I wish to avoid the pre-existing studios commonly used for AV-style SM productions.

Frankly, I’m utterly sick of that distinctly studio-like atmosphere inside those rooms.

My heart doesn’t race in those kinds of studios that AV production crews tirelessly use over and over again.

My “bondage heart” doesn’t leap.

It just makes me think, “not again.”

In those studios, the positions for binding the female body, the placement of lighting on that body, and the camera angles, everything is predetermined.

Before filming even begins, the entire image of the work already forms in my mind.

The same tired, formulaic visuals I’ve seen countless times….

So, I’ll start by writing here about the place where I want to bind and torment Hide Ishitani this time.

It’s a small bar, quietly breathing life in a back alley off a Ginza side street.

The nostalgic flavor is good, this alley, where bars are stacked and densely packed, evokes the atmosphere of the early to mid-Showa era.

You could just call it retro, but the scenery of this alley itself is, first and foremost, dramatic.

The place where I want to secretly tie up Hide Ishitani and torment her relentlessly is on the second floor of that old building, reached by climbing its narrow, steep staircase.

Just opening the door and glancing around the interior instantly envelops you in the scent of the Showa era.

The narrow interior is packed to capacity with just five customers seated at the counter.

In one far corner, there’s a tiny space, with a wooden bench. But even there, with just three or four customers seated, it becomes crammed full.

Behind the woman serving customers at the counter, bottles of various colors, all with somehow old-fashioned labels, are lined up, creating a great atmosphere.

Against this backdrop of tasteful liquor bottles, I’d love to stage the masochistic beauty of a bound female body.

Before a row of Western liquor bottles bearing labels of red, deep red, green, dark green, blue, navy, yellow, purple, orange and subdued brown (and all these colors are faded and dulled

by age), Hide Ishitani, tightly bound with her hands behind her back with my rope, would surely display such agonizing shame and dramatic sensual poses.

Truth be told, the reason I so desperately wanted to tie up a sensitive female body to my heart’s content right here in this small bar wasn’t just the dramatic atmosphere of the place, but the sight of that pillar standing straight and tall from the floor, through the counter, all the way up to the ceiling.

This is perfect.

Unbearably perfect.

For a man who loves bondage, it’s the kind of pillar that makes you tingle with desire, making you want to tie a woman up with her hands behind her back.

The pillar itself has an aura.

Sitting at the very back counter seat, the moment I saw it, I couldn’t help but call out internally, “Hey, pillar-kun,” reaching out my hand to show my affection.

Then, the pillar itself greeted me with a nostalgic smile, “Hey, welcome. Did I catch your eye? You certainly have good taste.”

To anyone else, it’s probably just an ordinary pillar on the counter, more of a nuisance, really.

At first glance, it seems utterly unsuitable for bondage.

No one would ever think to tie a woman to such a half-hearted, cramped pillar.

But to my eyes, this pillar held immense potential.

Once a woman’s body was bound to it, this pillar would transform in a thousand ways. To me, it could only be seen as a pillar of lust.

That’s why the pillar itself, responding to my desire, said, “You certainly have a keen eye.”

My mindset and consideration for her when photographing Hide Ishitani are largely the same as what I wrote in the Kawade Bunko editions, “The Beauty of Married Woman Hide Ishitani” and “Hide Ishitani’s Top-Secret Footage.”

However, compared to two years ago, her heart has become somewhat… no, quite more open.

This is because with the gag covering half her face, it became acceptable to show her eyes.

Compared to her previous strong wariness, this is a significant change.

Or perhaps, I wondered, she is no longer a “married woman?” But such speculation is pointless to begin with. If this footage is completed and deemed acceptable for viewing by fellow enthusiasts that would be most welcome.

Hide Ishitani has beautiful eyes. The eyes speak volumes.

A bound woman expressing her sorrow and joy through her eyes is a delight for enthusiasts.

Furthermore, she agreed to expose her breasts.

Her breasts are beautiful. And when ropes are applied there, they radiate an extremely erotic charm.

Her consent to breast exposure means consent to bondage while semi-naked.

At first, I will bind her while she is still clothed. She will wear the clothes and underwear she normally wears, of course.

For the climax, naturally, I will use the pillar. That pillar I fell in love with at first sight.

I’ll strip her down to her underwear, wrap her wrists around the back of the pillar, and bind them tightly.

Her butt resting on the counter.

Because of this, her face is higher than my eyes as I tie her up.

In other words, she becomes a “displayed object,” bound to the counter.

Of course, I bind her legs too, changing the bindings into various shapes. The variations in foot binding alone are enough to delight fellow enthusiasts.

Using both the pillar and the counter simultaneously to showcase the subtleties of foot bondage is one of my aims.

As I write this now, I find myself getting excited all by myself.

I should be writing more detailed, specific notes for Ako, who is assisting with this shoot, but I’m so excited I keep forgetting.

Calm down.

Right, I should write this down before I forget.

A sign, about the size of a handbag, quietly jutting out into the sky from the window area of the second floor of one building in the maze-like back alleys behind Ginza, where old, small buildings are densely packed together.

The cluttered atmosphere surrounding this sign is also truly excellent.

I want this small sign, set against the backdrop of the narrow strip of sky between buildings, to be the symbolic first shot.

But will the owner allow me to show the shop’s name?

Whether I can successfully capture “Hide Ishitani’s Top-Secret Footage” remains uncertain. Still, I’ll continue writing this rambling yet enjoyable text as Ako’s shooting notes, even if it feels like nothing more than a pipe dream.

The following comments were submitted by Mika Suzume and are reproduced here with her permission.

Mika Suzume’s Comment *Thoughts on the 55th Talking Theater* September 20, 2008, 02:51

Sensei, it’s Mika.

After reading this installment of “Reunion with Hide Ishitani, and then…,” considering how fascinating you are, I find myself becoming rather intrigued.

Hide Ishitani is discussed in detail in your Kawade Bunko book, “Bondage: As Long as I Live,” specifically in the sections “The Beauty of Married Woman Hide Ishitani” and “Hide Ishitani’s Top-Secret Footage.”

To quote your own words, “One in a thousand, no, having bound five thousand women in my past, one in five thousand, her exquisite, delicate form writing in shame.” Indeed, Hide Ishitani is undoubtedly one of your irreplaceable partners. After two years of longing, you are now creating what could be considered the culmination of your work.

The task of compiling specific notes from the filming location of “Hide Ishitani’s Top-Secret Footage,” a task undertaken by you in this very situation, I imagine that this very task must be your moment of SM bliss.

Therefore, I believe you are now in a highly elated state, feeling as excited as an elementary school student before a field trip.

It’s a small bar, quietly breathing life in a back alley off Ginza.

The nostalgic charm of this alley, where bars are stacked and densely packed, evokes the atmosphere of the early to mid-Showa era.

You could call it retro, but the scenery of this alley itself is, first and foremost, dramatic.

That setting, yes, yes… I find myself nodding in agreement. It’s good.

It reminds me of the SM film “The Slave Contract” starring Nami Matsukawa that I saw long ago. There was a bar called “June” in Shinjuku or somewhere like that. I wonder if it has that kind of atmosphere? I find myself imagining such things.

If it weren’t a back alley, that sensual, SM-like scent wouldn’t come through. And in a big bar, the space feels too vast, like the shame would just dissipate.

Before rows of Western-style liquor bottles bearing labels in red, deep red, green, deep green, blue, navy, yellow, purple, orange, and brown (and all of these colors are faded and dulled by age), Hide Ishitani, hands bound tightly behind her back with my rope, will surely display agonizing shame.

This too is quite lovely.

I think this kind of atmosphere, with its real sense of everyday life, suits SM bondage much better than fashionable scenes or artistic ambience.

If I could, I’d like to turn myself into one of the bar’s pillars or bottles and watch the scene unfold.

I know it’s impossible for me to enter that space except in that way… because I’m certain that Hide Ishitani’s M aura would be shattered if anyone other than you and Ako were allowed in. So, while it’s absolutely impossible in reality, it’s a scene I’d very much like to witness.

Reading your delightful plan, I ended up writing all sorts of things. But it’s only because your joy infected me, and I got carried away. Please forgive me. I’m terribly excited to see how the next scene of this little “play” unfolds.

Thank you, Mika-san. Please feel free to share your thoughts and impressions after reading it.