Nureki Chimuo Archive

Let’s change the title “Married Woman Kidnapping Bar” to “Married Woman Confinement Bar.”

Yeah, this one’s better. But this is still just a working title.

It might end up being a completely different title altogether. But for now, this is the title that fits the mood best.

Alright, I’ll start jotting down some staging notes for “Married Woman Confinement Bar” as they come to me.

While I’m at it, since the name Aoyama Teruko doesn’t quite fit the image, I’ll go with “Rin” for the lead married woman.

“Married Woman Rin.” Yeah, that has a more modern, young-wife kind of ring to it. It feels mysterious too. Last night I watched a channel-12 period drama called “The Drifter, Rin.” Starring Aoyama Rinko. It had scenes with bondage and suspension torture (though it wasn’t very interesting).

Two years ago, I recalled the image of Hide Ishitani, who reacted so wonderfully to my rope, while writing this. Really, I’m just writing whatever comes to mind, so the order is random.

I have Rin, the abducted married woman, tightly bound with her hands behind her back, then make her kneel properly with her knees together in seiza on the counter.

At first, she is still fully clothed.

I will set up the camera directly in front of her and take a long, careful shot of that seiza pose.

No shots from the left, right, above, or below of the married woman, Rin.

In other words, do not move the camera around needlessly.

At that moment, I crouch hidden beneath the counter behind Rin.

By “I,” I mean the kidnapper.

Hidden behind the counter, I sneakily lift the hem of the married woman’s skirt from behind. Then, staying hidden, I lewdly fondle various parts of her butt.

(Whether using something like a feather or brush, or just teasing with fingertips. In other words, the kidnapper is a man who enjoys doing such things.)

Naturally, the married woman, Rin, writhes in agony while forced to kneel upright on the counter.

She writhes her bound body, twisting and turning.

She tries to beg, but the gag prevents any sound from escaping.

“Ugh, ugh, ugh-ugh-ugh!...”

How sensual this muffled voice is!

Her white throat gasps and twitches, her eyes pleading desperately, filled with shame and humiliation.

The camera only aims at the front of her. It doesn’t film me lurking behind her.

So the man is doing something strange to her butt, but you can’t tell what it is.

Though it’s unclear, I want to capture the situation where the married woman’s body reacts violently, moaning in shame and humiliation while trembling and swaying.

I want viewers watching the footage to fantasize about what kind of perverted, strange things the perpetrator is doing. I want to make them frustrated.

AV directors and cameramen, when I act like that, immediately bring the camera lens close to my hands.

Then they focus on my fingertips and the woman’s anus, zooming in for close-ups.

But that’s just boring now.

Such footage is “explanation,” not "portrayal."

It only explains the man’s actions and serves only to explain a single part of the woman’s body.

It’s “explanation,” not “portrayal” or “expression.”

They don’t realize that these productions (or edits in magazines), done with what they think is “kindness” or business zeal to cater to enthusiasts, actually wound the enthusiasts’ pride and make them feel disgust.

I repeat.

You are wounding the pride of enthusiasts with sharp, deep sensibilities, without even knowing it.

No matter how shockingly intense, how relentlessly “amazing” the images or photos you create may appear, they are merely “explanations,” not depictions or expressions. Please understand that this only grates on the nerves of enthusiasts.

Ah, I’ve gone off on another strange tangent.

No matter how much I plead this point, if I’m told, “We’re not just catering to enthusiasts. We need ordinary people to buy it too. Don’t meddle unnecessarily,” that’s the end of the discussion.

Ako-san, the producer. I intended to just jot down my “shooting notes” from the set as they came to mind, but somehow, halfway through, I ended up rambling on with this kind of complaint again.

I’ll stick to grasping the overall situation, observing the reactions of Rin, the married woman, and creating interesting scenes based on flashes of inspiration.

I trust my own flashes of inspiration. I’m not a theorist after all, I’m a flash of inspiration in the moment kind of person.

I’m a person of limited learning and talent, who has lived by such flashes of insight alone.

But there’s just one scene I want to create.

I’ll write it.

While being confined and tormented, Rin, the married woman, turns her face toward me. With her mouth sealed shut by a gag, she desperately mumbles, trying to plead something.

“...............!”

I respond to her with a spiteful smile.

“Huh? What? Need to use the restroom? Oh, right, you gotta pee. Wouldn’t want you wetting yourself in here, would we? Go ahead. The toilet’s right there. Your panties are already off, so just pull up your skirt and you're good to go. Come on, hurry up and get in there. I’ll pull up your skirt for you.”

“...............!”

The married woman shakes her head sideways, pleading with sorrowful eyes.

“Huh? What’s that? You want me to untie your hands? No way. If I untie the ropes, you’ll run away. I can’t have you causing trouble. Just pee while you’re tied up. I’ll wipe you off when you’re done. Now, hurry up and go before you wet yourself.”

Saying this, I open the bathroom door for her.

The married woman, Rin, continues to shake her shoulders, crawling like a dog at the man’s feet, pleading pitifully.

“Hmm, you really want me to untie you? Well, I feel sorry for you. I’ll untie you just while you’re pissing. But in return, once you’re done, no struggling. You’ll let me tie you up again quietly. You’ll obediently put your hands behind your back, stack your wrists, bow your head, and say ‘Please tie me up.’ Then I might untie you. How about it? Can you promise that?”

Hearing the man’s cruel words, the married woman’s face looks like she is about to cry, yet she nods as if to say “Yes.”

Her white buttocks holding back her urine.

“Good girl, good girl. You promised.”

I slowly untie her ropes.

Please include all the scenes filmed here, including this part where the ropes are untied, without cutting it during editing.

In AV-style SM videos, scenes like this are deemed unnecessary during editing and get cut out completely. In the footage, the next moment shows the woman already free.

The complex, subtle expressions on a woman’s face as her ropes are cut, and the delicate reactions of her body, are where the exquisite pleasure and true essence of masochistic eroticism lie hidden. Please, don’t cut that part.

I’ll free both her hands, but to prevent escape, I’ll wrap a tight coil around her waist, that is, apply a “waist rope”.

The man grips the rope’s end firmly. Then, “Alright, go on.” I lead the married woman into the bathroom.

I close the door. The waist rope extends outward through the door’s crack.

I grip the rope, occasionally tugging it.

The sound of flushing water is heard, and eventually, the married woman emerges from the bathroom.

(A scene where the man touches the married woman’s butt to wipe her could be lightly filmed. In reality, it’s probably too cramped and awkward to film clearly. The atmosphere of a man and woman pressed tightly together, fumbling about in the dark, cramped space, might be subtly erotic and lewd.)

Outside the toilet door, the woman kneels in seiza, places both hands on the floor before the man, and pleads for him to stop tying her up.

Her mouth is still tightly gagged, so a muffled sound comes out, but it doesn’t form words.

The man shakes his head with a cold expression.

Then, he lightly taps her neck, shoulders, and chest area with the bundle of rope as a threat.

The married woman gives up, her facing growing even more sorrowful and desperate, and turns her back to the man.

Then, oh my, she timidly reaches behind her back with both arms. That pitiful, pitiable air.

But the man snaps, “Stack your wrists higher and raise them!”

The woman, frightened, hangs her head dejectedly and, obeying the man’s command, stacks her wrists behind her back.

“Raise your wrists higher!”

The man shouts as he slowly ties the ropes.

He’s licking his lips in his heart.

The ropes are tighter than before. So tight that the married woman, Rin, occasionally lets out a moan from within the gag.

…This scene I absolutely want filmed. I adore scenes with this kind of setup and this kind of movement.

If filming proceeds in this kind of mood, just imagine how intense and passionate the feelings woven into my ropes will become.

And just imagine the erotic reactions Rin will display, how deeply imbued with the sorrowful joys of masochism, how overflowing with passion.

In this drama, “The Married Woman Confinement Bar” (still a working title), Hide Ishitani plays the married woman, Rin.

After reading my words, how do you feel now?

Huh?

Nothing at all?

Well, that’s a bit of a problem, isn’t it?

Hmm… I suppose I really must meet with you, Hide-san, and talk before filming begins.

And to ensure good work, perhaps I should confirm Hide-san’s current reactions beforehand.

Or would it be more sensual to skip the confirmation, suddenly bind her tightly on set, and scream inside, “How does the taste of Nureki’s rope feel after two years?!”

Would that elicit a more sensual reaction?

Hmm. I’m torn about this…

Now, the story takes a complete turn.

I’d been writing diligently and felt rather tired, so I picked up All Yomimono magazine. There was a page featuring a conversation between Fumi Saimon and Ira Ishida.

It’s a serialized feature called “Fumi Saimon’s ‘Marriage Power’ Lecture.”

There was a part in it that made me go, “Hmm, I see.” I’ll share just that section.

Ishida: ….The real thrill of sex is having it a lot with someone you love. That’s all there is to it.

Saimon: It’s great when both people’s fantasies align, right?

Ishida: With women, it’s nice when they occasionally show you something that just “overflows.” Like when a huge desire just bursts out, or when they do something incredibly devoted. For example, if you, Saimon-san, could show me that kind of energy, like being able to go three days without sleep when it comes to work, I’d think that’s amazing. Also, women tend to like overly pure things, but maybe it’s better to inject your own desires more honestly into that purity. It’s fine to think, “I’m a bit of a pervert,” and own it.

Saimon: Hehehe.

Ishida: About this, I really want to tell all married couples in Japan. Both men and women hide their sexual preferences and secret desires too much. You should get a little tipsy together and say something like, “I’m fifty now, but honestly, I want you to wear a competitive swimsuit” (laughs). Nowadays, you even see AVs with sixty-year-old mature women in sailor uniforms. They call passion without reason perversion, but if it brings you joy for a lifetime, isn’t that just fine?

I’ve only shared a small part of our ten-page conversation here, but when I heard Ira Ishida say, “They call passion without reason perversion,” I thought, “Hmm, yeah, that’s a pretty good way to put it.”

He truly is a Naoki Prize-winning author and a popular, trendsetting writer. I’m a big fan of his “Ikebukuro West Gate Park” series (thanks to that novel, I started exploring all over Ikebukuro).

“They call passion without reason perversion.”

Hearing it put that way, it’s absolutely true. It rings so true.

I was utterly baffled by how women bound by my hands (models and actresses, mostly) would get misty-eyed, go all dazed, and slip into this ecstatic state when their bodies were tightly laced with rope.

(Incidentally, I coined the term “rope intoxication” myself. That was fifty years ago.)

So I would ask these women earnestly, “Hey, hey, won’t you tell me? Why does being bound with rope feel so good? Please, tell me.”

To date, I’ve asked over five hundred women this question seriously.

Of course, I only asked women who seemed likely to answer seriously, right after I untied them.

They would usually tilt their heads and think for about thirty seconds to a minute (which feels like a long time), and then most would answer, “I don’t know.”

Rakka-san, who is neither a model nor an actress, but a woman with remarkable intellect working in a creative profession, even she would fall silent, her face flushed with embarrassment and confusion, when faced with my question.

This silence wasn’t about ignoring or rejecting my question. She seemed to be thinking it through in her own way.

But her answer still ended up being “I don’t know.”

Over the two years we’ve known each other, I’ve repeated this question about fifty times (not because I’m persistent, but because her rope-induced trance is so deep and long that I can’t help but ask). Yet the answer remains “silence.”

(Being shy, she sometimes blushes and falls silent just from saying words like these.)

Even Rakka-san, who seems like a bundle of intellect and reason, cannot give a clear, decisive answer to this question.

Yet, when someone bluntly states, “A pervert is someone with passion without reason,” I find myself impressed, thinking, “well said,” and strangely convinced.

Come to think of it, my desire to tie up women, and the fact that I’ve tied them up endlessly, countless times, “passion without reason,” if I think of it that way, it somehow feels settled.

Is the absence of reason, after all, simply instinct?

Is it an instinct granted only to chosen individuals? This instinct is bestowed upon only a handful of people.

I don’t particularly think that people possessing this instinct are superior, just because God only grants it to a handful of people.

If passion has a reason, then it ceases to be perversion and becomes normal, doesn’t it?

The perverted things created by normal people become boring, mundane, and dull, lacking any leap or surprise, because they try so hard to attach reasons or logic to them.

The following comments were submitted by Mika Suzume-san. We are reprinting them with her permission.

Comment from Mika Suzume *Thoughts on the 59th Talking Theater* October 5, 2008, 12:14

Sensei, this “Talking Theater” depicts the part of your dream about preparing for your upcoming performance with Hide-san, doesn’t it?

Well, I’d rather not offer opinions like “Oh, that’s H” or “I wonder about that,” as I think it would be presumptuous of me. However, there is just one thing I’d like to interject.

And, in order to do a good job, should we perhaps confirm Hide-san’s current reaction beforehand?

That’s the part I’m talking about.

I know full well this is my meddling, but please hear me out for a moment.

Checking beforehand, that is to say, rehearsing, I suppose.

Well, Sensei, that might make for good work, but I don’t think it would make for interesting SM.

When I think about SM, where so much can be imagined in advance, like if I were to play Hide-san’s role, it makes the appeal half as much for me.

I prefer SM where you can’t predict what will happen, rather than the SM I already understand. It’s precisely because you don’t know what will happen that it sends shivers down your spine.

Even if it ends up failing as a job, I don’t think you should try to confirm Hide-san’s reaction beforehand.

Sensei, don’t you think it’s more thrilling not knowing how Hide-san will react in that kind of situation?

Knowing her reaction beforehand versus seeing her M-side reaction for the first time during the actual session, I think it would change your S-side reaction, Sensei. It might also distort Hide-san’s M-side reaction or make it weaker than it would have been the first time.

If you’ve already confirmed it beforehand, then both you and Hide-san are experiencing that particular thing for the second time. Even if the steps and procedures go smoothly, what about the emotional aspect?

To me, it seems like the emotional reaction is weaker the second time around compared to the first.

I want to see the sensei’s “Married Woman Confinement Bar” filmed with the intention of capturing the heart. Even if it’s full of awkward flaws, I want to see the real thing, filmed live in one take without rehearsal.

I believe the best SM play is closer to free jazz than classical music.

Free jazz lives on improvisation. That thrilling uncertainty, where neither player nor audience can predict what will happen, creates both tension and joy in the performance.

I feel that since you seem to recognize Hide-san’s talent as an exceptional M performer, your ropes, guided by Hide-san’s expression, could draw out realms you yourself haven’t even imagined. And that this would be felt purely instinctively, without any calculation. I think you seem to believe that with Hide-san, this kind of chain reaction of improvisation, that’s what I’d call it, could happen.

So, I don’t find it interesting to try and confirm things beforehand.

“Perversion is passion without reason.”

A famous quote by Ira Ishida, isn’t it? I nodded in agreement.

Using that phrase, what I want to see this time in your “Married Woman Confinement Bar” is the clash of S and M’s “passion without reason,” you see.

When S and M, these passions without reason, clash, is it just my selfish view that the god of SM Eros descends then, carrying an innocent arrow?

In any case, I do hope “Married Woman Confinement Bar” gets finished.

I look forward to it.

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