Nureki Chimuo Archive

I had intended to conclude my writing about the “Married Woman Confinement Bar” last time, but Mika Suzume-san sent me another startlingly insightful opinion, so I’ve decided to write one more continuation.

The characters 上 and 下 are used here, meaning up and down. Nureki is effectively using them as a rating system.

(Incidentally, as I write this now, filming for the “Married Woman Confinement Bar” hasn’t been finalized yet. For a company that must prioritize profit, dealing with such fan-driven fantasies is simply untenable, and this project could easily be scrapped. Well, that’s fine too. I’ve thoroughly enjoyed my own “fantasy pleasure.” No, really. Somehow, I feel strangely refreshed right now. In my mind, the footage for “Married Woman Confinement Bar” is already complete. On an actual shoot, bothersome, realistic, annoying obstacles pop up, and in the end, things are rarely as fun and ideal as in the fantasy itself. In a fantasy, you can freely and unrestrainedly do whatever you want, one hundred percent. I’ve already thoroughly enjoyed “Married Woman Confinement Bar.”)

Just as I was thinking that, Mika Suzume-san quickly responded to my previous writing and gave me this advice.

This is Mika Suzume-san’s advice regarding my thought of meeting alone with Hide Ishitani-san before the upcoming “Married Woman Confinement Bar” shoot.

For my part, it stemmed from wanting to confirm her current reaction beforehand, whether it would be the same as two years ago or would it be different?

This feeling of mine is, well, common sense, wanting the upcoming “work” at the shoot location to go smoothly and well.

(No, no, to be honest, there was also a bit of lecherous intent involved.)

Mika Suzume-san said this,

“Checking beforehand, that’s essentially a rehearsal, isn’t it? Sensei, while that makes for good work, I don’t think it will make for interesting SM.”

Deep.

She really laid it on thick.

She’s absolutely right.

I, Nureki Chimuo, must above all else create interesting SM (after sixty years in this field, however petty I may be, I do have that much pride.)

For me, interesting SM is good work.

“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.”

This applies perfectly, whether you substitute “SM” with “novel” or “play.”

It applies not only to novels, stories, or plays, but to every other field of art as well.

Predictability means a sense of deja vu. In any art form, if there’s deja vu, it lacks freshness and isn’t interesting. No one will appreciate it.

“Even if it ends up being a failure at work, I don’t think you should confirm her reaction beforehand. Sensei, don’t you think it’s more thrilling not knowing how she’ll react in that kind of situation?”

Yes, it’s thrilling.

The thrilling anticipation of seeing what kind of wonderful reaction she’ll show when she first appears in front of the camera.

And then, the heart-pounding anxiety over whether, during these past two years some circumstance or cause has affected her, leaving her completely unresponsive, what they call a “dead lay state3”, making her personality dull and uninteresting, both for me and the footage.

There are two kinds of heart-pounding excitement.

If her reaction is wonderful, I can just build on that reaction. But if it’s the opposite, I break out in a cold sweat, thinking about how the producer who shelled out a lot of money for this shoot must feel.

Then it becomes a lonely battle, just me and her body.

“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. ”

Two or three years ago, during the so-called “heyday of SM magazines,” I would sometimes tie up the same model three or four times within a single month (meaning that many different SM magazines were being published in large numbers).

Let’s call that model Mako.

During the first shoot when I tied Mako, since she was my first model, I tied her using the method I had memorized, which I’ll refer to as “A.”

The term in question here is マグロ: maguro, meaning tuna, but in slang, it refers to someone who is unresponsive during sex.

“A” is, well, the standard, very ordinary hands-behind-the-back binding.

With this “A” binding method, Mako reacted sufficiently, pleasing both the photographer and the editor. I recorded it in my personal “Kinbaku Diary” as follows.

*Month *Day, Shooting for ** Publishing. Model: Mako. Rating: “High.”

This “High” refers to the top tier of a three-tier rating system: High, Medium, Low. It signifies a good reaction.

Then, three days later, at another SM magazine shoot, I tied Mako again as the model.

This was my second time tying Mako.

And the rating was “Very High.”

Since it was the second time, I decided to change my binding from “A” to “B” and applied it a bit tighter.

Not only did I tighten it, but I also knew from the first shoot where the pressure points on Mako’s body responded well to the ropes. I applied ropes with pressure to those points, and her reactions were excellent, resulting in the “Very High” rating.

The rating for the third time I bound Mako was “Extremely High.”

My binding style this time was “C”.

Meaning, I discovered even more pressure points that elicited a reaction from Mako and intensified the restraint one more level.

After doing this kind of work for a long time, manipulating countless female bodies, you sometimes discover pressure points in places you’d never think to look.

It’s not my hands or fingers that find these points, it’s the rope that discovers them.

For example, there was a model who let out a gasp of pleasure and arched her back dramatically the instant I threaded a thin rope between her toes.

(Talking about these pressure points could go on forever, so I’ll write about various real examples another time.)

By the way, you can see my handwritten bondage diary from this “Golden Age of SM Magazines” at the Sex Industry Museum. It’s labeled “work notes,” with entries like, Model: Mako. Eighth shoot. “Incredible.”

One more thing while I’m at it. For bad models, meaning unmotivated, expressionless, unresponsive ones, I’d write something like this.

Photo by Company X. Model: Dameko4. Rating: “Terrible.” A woman I never want to see again.

For models like this, the editorial department usually only uses them once.

If there are three or four “Low” ratings, it’s because she’s fundamentally a woman with a bad personality.

“You, doing this kind of work, and you find every day enjoyable?” with a spiteful glare, twisting her lips like Taro Aso, spewing outrageously venomous remarks.

There’s also a “Medium” rating.

Well, neither good nor bad, completely unresponsive to anything, not interesting to tie up at all, but the finished product at least looks like a bondage photo. That’s the kind of model this is.

Even with models like this, after using them two or three times, you might accidentally hit the right spot. They’ll suddenly awaken to the ropes, start shaking their butt like crazy, and show an amazing reaction.

So, say they were “average” during a shoot with Company A, but a few days later, when tied up by Company B, they suddenly become “High High High.”

My tying method for each model has about sixteen levels, arranged alphabetically from A to P.

This is my personal mnemonic. I don’t tell others. Even if I did, they wouldn’t understand.

When reaching P, I might use fifty ropes in the final scene.

Around level G, I might incorporate a takate kote midway. By level H, I might add a reverse prayer combined with shrimp torture.

The name Dameko is a bit of wordplay. Dame means “no good” in Japanese.

If I were to meticulously count the distinct types of binding, there are about 365 varieties. However, explaining them without photographs is impossible.

Just for binding the toes alone, there are about thirty different methods.

Huh?

Somehow, I’ve gone off on a tangent again.

Let’s get back to the main point.

Let’s return to the advice from Mika Suzume-san.

“I believe that even if ‘Married Woman Confinement Bar’ that you, the director, wish to capture the heart of, ends up with many awkward flaws, I want to see the real thing, the one shot, no rehearsal, live performance.

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

Free jazz lives and dies by improvisation. That thrilling uncertainty, where neither player nor audience can predict what will happen, creates both tension and enjoyment in the performance. (Omitted) I find the idea of confirming things beforehand utterly boring.”

After Mika Suzume said that, I thought about it. In my bondage shoots, I’ve never once done anything like rehearsal.

I’ve done bondage for filming five thousand five hundred times (how embarrassing, five thousand five hundred times! Tying up women means I did nothing else for five thousand five hundred days. No wonder my head’s going to mush!). Yet not a single director ever said, “Let’s do a rehearsal first.”

Not a single one.

Besides, something like bondage isn’t the kind of thing you can do with rehearsals.

It’s a one-take job completed with momentum, flow, and rhythm.

Essentially, it can’t work unless it’s improvised.

The Kinbiken members total about three thousand people, and those people should have seen my tying style from start to finish.

I once bound and suspended five women between 1 PM and 7 PM, creating five videos. Six hours dedicated solely to kinbaku.

All five featured different binding techniques and methods of restraint. I improvised the binding style based on each woman’s personality.

All Kinbiken members know that every Kinbiken video is created entirely through improvisation.

Because the members are present at the filming locations, improvisation is common sense.

(Wait, hold on. Or is there such a thing as “kinbaku” that requires rehearsal? I can’t say for sure, as I only know the world I’ve been involved in. Perhaps there is such a rehearsal-based kinbaku. However, if I were asked to do that, I would refuse immediately.)

Just as I wrote this far, I received a fax from Ako at the editorial department.

“Shooting for the ‘Married Woman Confinement Bar’ has been confirmed. Accordingly, we would like to have a detailed meeting with the photographer present. Please let us know a date that is convenient for you.”

I wrote back immediately, arranging to meet with Ako and the photographer in five days.

On another day, I thought, I should meet “Married Woman Rin” too. I must meet her.

But unfortunately, I was busy right now.

The performance date for the theater group I belonged to was approaching.

So lately, I've been rehearsing every day. Rehearsals heated up at night.

I thought I wouldn’t have time to meet “Married Woman Rin” before the shoot.

But I still had lingering feelings. I really wanted to meet her at least once before the shoot.

That call from “Married Woman Rin” came late that night, after eleven, the same night I received Ako’s message.