Nureki Chimuo Archive

To Hide Ishitani.

On the day of filming, I will remove the panties you’re wearing in the morning, roll them up, and stuff them into your mouth to use as a gag. Therefore, please be sure to bring a spare pair.

The large white cloth of unbleached cotton for the gag, which covers half your face, will of course be provided by us. We will also bring the blindfold cloth.

The panties twisted into your mouth will become soaked with your own saliva, so they will be unusable by the time you leave.

We will use everything you wore as your "costume" for this day, so please be sure to bring a change of clothes.

The “costume” will likely get dirty with lots of fine, hair-like fibers from the hemp rope, so please prepare a change of clothes.

You will likely have quite noticeable rope marks on your arms and chest area, so please bring a long-sleeved blouse or cardigan to cover them for your return trip.

The binding and untying process will continue for about three hours, so rope marks will inevitably appear on your body. (They’ll fade by the next day. Oh, you should know this well yourself.)

No hair or makeup staff will be used on the day.

After all, you are playing the role of a kidnapped married woman, so there’s no need for overly glamorous makeup like an AV actress would wear.

That would significantly undermine the realism.

Captured by the perpetrator, subjected to various torments, even the most beautiful woman’s face should gradually become fatigued and dirty as time passes. That dirty expression is itself masochistic and erotic (AV producers don’t understand such crucial things.)

AV-style SM videos take long breaks repeatedly during filming, where professional hair and makeup artists meticulously reapply makeup to the actress’s face, making it beautiful again.

There’s no act more unnatural, more devoid of sensuality, and more detrimental to realism.

The insensitive direction where the woman being tormented’s face remains oddly smooth and flawlessly beautiful from start to finish is something all enthusiasts secretly mock.

Unable to recognize this, SM videos that mechanically have hair and makeup retouched after every single scene are utterly lacking in realism, only serving to chill the hearts of enthusiasts.

For the upcoming film starring Hide Ishitani, “The Married Woman’s Kidnapping Bar” (this title just popped into my head, it’s obviously a working title), I want to avoid such mechanical, habitual, and lazy approaches as much as possible.

Hide-san, please do all your own makeup.

The married woman Hide-san plays, let’s provisionally call her Aoyama Teruko.

Well, the name doesn’t really matter. It’s just a convenient name. “Married Woman” alone would suffice.

A request for producer (or possibly camerawoman) Ako-san.

I’ve rambled on quite a bit about the upcoming shoot for “The Married Woman Kidnapping Bar.” But please leave the specifics to me, how we’ll proceed after tying up Aoyama Teruko, and how we’ll make it look appealing and sensual.

In that uniquely SM-infused, enclosed space, watch as I position the bound and gagged married woman, Aoyama Teruko, her mouth tightly sealed with a gag, and use the pillar standing on the counter as a “torment pillar.” Anticipate the sadistic scenes I will create.

Now, I just wrote “a closed room with an SM atmosphere,” but frankly, I dislike rooms like that, where bundles of red, white, and blue ropes hang from the walls here and there, and dogcollars and whips are displayed in an overly dramatic, menacing way.

Rooms with iron cages or devices for horse training, in my view, only detract from the SM atmosphere for enthusiasts.

Bondage enthusiasts especially hate scenery decorated like that, as if it were a toy store.

For enthusiasts, it even feels like their sacred domain has been defiled.

To me, such places seem only to exist to amaze, shock, or impress “normal people” with nothing but ordinary sensibilities, those who aren’t SM enthusiasts.

Enthusiasts inwardly despise such ostentatious displays.

Similarly, many enthusiasts dislike SM scenes where a woman dressed in black leather and rubber, looking every bit the queen, appears with a whip in hand.

Well, I suppose there are enthusiasts who do enjoy such stereotypical spectacles, but the people I associate with all sneer at them.

Come to think of it, my dislike for that “workwear” stems from the same reason.

I simply cannot bring myself to like things that are mere empty pretense, devoid of soul, mere stereotypes.

Well, I’ve gone off on a tangent again. But Ako-san (hmm, when did I start using honorifics? I was just calling her Ako, plain Ako, last time. Why is that?), once the camera starts rolling in the bar, please leave it all to this old fool, Nureki.

Rather than detailing or explaining the “rope” performance from here on out, I hope you, Ako-san, will also enjoy the unfolding events, the surging lust, the flashes of inspiration, the explosive desire for bondage, all within that confined space on the day itself.

Within that intimate, emotionally charged space with its subdued colors, we’ll present the body of Aoyama Teruko, a married woman bound savagely with her hands behind her back, in a novel, masochistic pose.

My only slight concern is whether there might be a change in Hide-san’s superb expression of ecstasy, intoxication, and shame (though she herself insists she isn’t “expressing” anything, that it’s simply her natural, unconscious reaction).

Please forgive me for such an impolite way of putting it.

For my part, having been given this unexpected opportunity to have Hide Ishitant-san appear, I want to achieve the most satisfying result possible.

Hide-san.

Recalling those intense months we shared two years ago, I feel a sense of unease, even though I know it’s rude.

You know what they say, right?

“A woman’s heart and autumn skies1.”

They also say, “a man’s heart and autumn skies,” meaning all people’s hearts are fickle and change easily.

Consider the story “The Lovely Woman” by the 19th century Russian literary giant Chekhov. It’s about a woman whose personality changes every time her environment or lover changes.

Two years ago, you kept your address and phone number secret and wouldn’t tell me (though I didn’t ask either).

Yet the other day, when the three of us, you, Ako-san from the publishing company, and I, were discussing things, you gave Ako-san your phone number without hesitation.

At that moment, my heart skipped a beat.

Giving Ako-san your address means I’ll inevitably find out too.

Japanese proverb, meaning a woman’s heart is as fickle as autumn weather.

Why this change?

No, sorry. I was about to make a rude assumption.

I’ll stop steering this conversation in such a personal direction now.

I should just engrave Hide-san’s agonized reaction from two years ago firmly in my heart, become completely absorbed, and play the role of the kidnapper single-mindedly.

To tell you the truth, Hide-san. Before filming, I thought about meeting with you alone, just the two of us, once.

But I decided against it.

I thought I’d wait until filming to tie you up again after two years.

Because I thought your reaction to my ropes would be more intense and profound that way.

Of course, my ropes would have a more “fresh” power that way.

My hands, touching you again after so long, would surely tremble with both tension and emotion.

I absolutely want to recreate your agonizingly sensual reaction from two years ago, exactly as it was.

No matter how much you writhe in shame, you never become vulgar.

Your masochistic eroticism was always fresh and, moreover, pure.

Rather than a bound woman immediately spreading her legs in a pose ready to welcome a man, true bondage enthusiasts prefer a woman desperately closing her legs, twisting her thighs together in resistance.

If she spreads her legs, the bondage enthusiast instantly loses interest in her.

This is purely instinctive, unrelated to reason or intellect, there’s simply no helping it.

(Just recently, I encountered such a model and fled in disappointment. R-san was there and knows this.)

Hide-san, you are the complete opposite of that kind of woman, you are a woman who loves ropes.

(That’s it! I just thought of it. The kidnapper should repeatedly, relentlessly, and obsessively threaten the married woman with the verbal abuse, “Spread your legs and show me your crotch!” Then, we’ll thoroughly film the pitiful yet noble sight of the married woman, Aoyama Teruko, who absolutely refuses to spread her legs!)

Ahhh, I’m getting excited again.

Hide-san, before filming, please reread the sections I wrote in the Kawade Bunko edition, “The Beauty of Married Woman Hide Ishitani” and “Hide Ishitani’s Top-Secret Footage.”

Please feel the mad passion I poured out on those pages.

That fiery flame still burns fiercely within my chest.

Two years ago, when I bound Hide-san, I actually used only the “caressing rope” (aibunawa).

When I bound Hide-san, it was always just the two of us, and we only ever used love hotels.

For this shoot, I’m thinking of trying “tormenting ropes” (semenawa).

But I know that might be confusing, so to put it simply and clearly, “caressing ropes” refer to a binding technique designed to make the woman feel only pleasure, both physically and mentally.

“Tormenting ropes,” on the other hand, add a subtle harshness to those “caressing ropes,” creating a binding technique that induces suffering.

Suffering, of course, means sweet suffering, and there are several levels of this depending on the partner.

It might seem abrupt to suddenly bring up Rakka-san here, but for reference, I only use “caressing ropes” on her.

“Tormenting ropes” are unnecessary for Rakka-san. Because she is the sort of person who faints just from “caressing ropes.”

In other words, Rakka-san’s sensitivity to ropes is even more acute than Hide-san’s. It’s frighteningly, uncontrollably acute. Or perhaps it would be more accurate to say she has become acutely sensitive.

Whether it’s “tormenting ropes” or “caressing ropes,” pleasure and pain are separated by a paper-thin line, and there are subtle differences for each individual woman.

The role of the “bondage artist” is to detect those subtle differences in sensation as quickly as possible when dealing with a woman.

The reason I decided to incorporate “tormenting ropes” into the “caressing ropes” for Hide-san during this shoot was, of course, to observe her reactions.

Let me reiterate, even when I say “tormenting ropes” in my style of tying, it ultimately remains within the realm of “sweet pain.” So, Hide-san, please don’t worry. I have never harmed a woman’s body in the past.

I’ve written quite a lot about the “Married Woman Kidnapping Bar” project, which may not even happen. The date is still undecided and it might remain just a concept.

This may come as a surprise, but I have a request for Director ZOU, who helped me out the other day.

As you know, Director ZOU, I’m just a lowly, day-to-day rigger. But even the smallest insect has its spirit, and even a lowly rigger like me understands that expression is a form of struggle.

Struggle requires preparation.

Like a monkey trainer telling a monkey, “Now jump and leap around however you like!” Even if ordered to do so suddenly, without some preparation and mental readiness, you cannot win the fight.

If you jump and leap around, you might show something resembling a trick, but it will never truly become the trick itself.

“Reunion with Hide Ishitani”

“Subtle Lighting is the Very Essence of Sensuality”

“The True Feelings of Women Are Impossible to Understand”

And this piece, “Pleasure in Rope, Despite the Pain,” is my preparation for the fight.

To create images I can truly stand behind, this much preparation of the soul is necessary.

Even then, the outcome remains unknown.

Not knowing the result until you try to might be one of the interesting aspects of this work.

Hide Ishitani-san, I know nothing about your current feelings or other circumstances.

I will approach this shoot with the same heart I had for you two years ago. And I will bind you with sincerity. I am looking forward to it.

Ako-san.

If this project gets scrapped due to upper management’s wishes, please inform me immediately. No need to hold back. Projects getting scrapped happens all the time.

No need to worry about me. When it’s decided to scrap it, tell me quickly.

For my part, I want to first consider Hide-san’s feelings, whether she feels “okay with appearing in photos or videos now.”

After all, ten days from now, no, even five days from now, her heart might change again.