Nureki Chimuo Archive

To Director ZOU.

I’ve found an excellent model who could potentially appear in “Dream Rope.”

Her name is Masako Kiyota.

I won’t mention her age, appearance, proportions, or other details here.

Please read the text I am about to write. If it piques your interest, Director, please arrange to meet her.

If you specify a location, I will bring her there.

What makes her wonderful? First, she doesn’t look like a typical model.

(She hasn’t appeared in AV or similar videos. That’s precisely why she’s perfect.)

Generally speaking, she’s a woman with a plain, understated look.

There’s absolutely nothing pushy about her.

She’s plain, but an aura of “M” radiates from her entire being. This aura is the real deal.

Thanks to advanced makeup techniques today, girls appearing in adult videos are generally cute and beautiful. However, because their faces are altered and artificially enhanced, they all end up looking too stereotypical.

They’re uniform and lack individuality.

To put it dramatically, they feel like dolls.

Heavily made up models may be superficially beautiful and cute, but you can’t sense the raw, feminine aura.

Even their “hearts” seem coated in cosmetics, leaving no trace of human warmth.

Masako Kiyota possesses a sensual, erotic quality absent in generic models with merely voluptuous forms. Like a pale, burning frame within her petite body.

When I bind her hands behind her back, her masochistic eroticism glows with an even darker, more sinister radiance.

Not just on the surface, but a passion for masochistic pleasure burning from the very core of a woman’s body. I want to bring that to life.

I believe the true form of sensual masochistic beauty, long awaited by genuine bondage enthusiasts, neither performance nor exaggeration, is here.

I’ll persuade her to read this script (I’ll write something like a script, or production notes, from here on) and get her to agree.

I have confidence in my ability to persuade her.

I want to create a bondage video drama featuring her performance, one that future generations of enthusiasts will whisper about.

Though I call it a drama, the story is extremely simple.

I want it to be straightforward and clear, free of extraneous elements.

That way, I can focus more on the bondage scenes.

I’ll play the man who kidnaps the married woman she portrays and ties her up relentlessly.

The man says, “Become my woman!” and obsessively ties her up over and over, tormenting her relentlessly.

Unlike the previous “Dream Rope,” this time it’s a drama. So rope techniques take a backseat. I’ll realistically portray a man driven mad by his twisted obsession with the married woman played by Masako.

While maintaining the spirit of the beauty of bondage, I’ll show you brutal, harrowing intensity and violent rope work.

I will present something that will leave even my most devoted fans stunned and horrified. The very men who coined the term “beauty of bondage” and made it their banner will witness that Nureki Chimuo can perform such intense, gruesome bondage.

I will bind Masako, bind her, bind her, bind her relentlessly.

This time, I will make the bondage enthusiasts shudder in awe, and think “Amazing!”

Nureki Chimuo has this kind of rope too, watch closely!

It involves kidnapping a married woman and binding and tormenting her for ten straight days.

(Of course, filming will be completed in a single day.)

I’ll outline the content next in a scenario-like format.

“Ten Days of Imprisonment: The Married Woman”

—Day One. (Text: Day One of Imprisonment)

A man (me, Nureki Chimuo) binding the hands of the married woman he kidnapped behind her back.

The married woman, already blindfolded with a hand towel and gagged with a tight ball gag, is too terrified to resist.

As you know, both the blindfold and the gag, when applied intensely and realistically, become forms of torture in themselves.

There is also the intention of not clearly showing Masako’s face.

(She is an ordinary office lady working at a regular company in her daily life, so her face cannot be clearly shown.)

Not clearly showing her face on camera is by no means a disadvantage.

Forcing the model to constantly face the camera to show off her beauty or cuteness loses realism and actually kills the interest of enthusiasts.

Even if advertised with lines like, “Look at this beautiful woman tied up! How about that? Amazing, right?”

There are no fans that simple who would be surprised by such things nowadays.

(Masako Kiyota is beautiful. Director ZOU would recognize this instantly upon meeting her.)

On the first day, we film a man, licking his lips with sadistic delight, meticulously binding the confined married woman’s hands behind her back.

Here, we check again to ensure the gag is tight, slowly reapply the white cloth.

We meticulously film scenes like stripping off the stockings the married woman is wearing, rolling them up, and forcefully stuffing them into her mouth.

Then, we kick the married woman down and lay her flat.

The man sadistically kicks, stomps, and lewdly rubs the soles of his feet over the defenseless body of the married woman lying on her side.

—Day Two

Binding and abandonment torture using a pillar.

Both hands and feet are bound behind the pillar in a rear embrace position, then left abandoned, a cruel torment.

The pillar itself becomes a brutal instrument of restraint and torture.

The married woman couldn’t move an inch.

The man stood a short distance away, watching her while eating sandwiches and drinking milk.

—Day Three

From around this point, he gradually begins to strip the married woman’s clothes off.

He ties her body down and secures it to the table.

He changes her position, forcing her into three or four gruesome poses.

The man sits in a chair, reading magazines or such.

Occasionally, he reaches out to torment her body in a perverse manner.

New methods of torment are employed at this time.

New methods of binding are also employed.

—Day Four

Tongue pinching with disposable chopsticks.

At the same time, perhaps add nostril torture as well.

In short, it’s facial torment.

During this time, the blindfold remains on.

Only when the face changes significantly due to the gag or other restraints is the blindfold removed.

(At this moment, I believe the terror and pain in the married woman’s eyes can be captured very effectively.)

—Day Five

Further stripping away clothing for brutal bondage.

Using several bamboo sticks for a visually intense torture.

For example, encircling the married woman’s neck with four bamboo sticks, leaving her in a neck restraint torture.

At this time, the man is separated from the married woman, doing something else.

In other words, the atmosphere of abandonment torture.

For instance, with the married woman’s grim figure behind him, the man is folding origami cranes.

It’s more interesting when he’s doing something completely different and interesting.

—Day Six

Wrapped head to toe in cotton yarn.

Origami cranes sit atop the abandoned married woman’s body.

—Day Seven

Suspended torture. Several poses while suspended in midair.

Even now, the man lies sprawled with his back to the married woman, doing something else. In short, neglecting her.

—Day Eight

Cruel bondage using stiff, spiky black palm rope. By this point, the married woman is nearly naked.

The hard spikes of the palm rope pierce her soft skin.

And the married woman cries out, her whole body trembling as she begins to weep. At this time, she is only blindfolded.

She cries and even loses control of her bladder.

—Day Nine

A depiction of brutal torture bondage, progressing from the agura tie to ebi torture.

By this point, the married woman is nearly naked.

Suspended in midair in the ebi torture position.

The man strikes her buttocks with a specially made paddle.

—Day Ten

The man slowly lowers the married woman from her suspended position.

He then unties the ropes binding her in the ebi position.

Once all the ropes are removed and she is free, the married woman lies limp and motionless for about thirty seconds.

The man gathers the untied ropes, one by one, and tidies them up.

The married woman, who had been lying limp with her back to the man, suddenly turns around.

The woman stands up, then lunges at the man tidying the ropes and embraces him.

Then, she kisses him with fierce intensity.

Tears welled in the woman’s eyes. Tears of gratitude. “Thank you! That felt so good, thank you!”

The married woman is the man’s wife, and the punchline, the final scene, is that these past ten days were actually her husband devoting himself entirely to being intimate with his wife. However, I think this punchline is optional. It’s up to Director ZOU’s discretion.

Well, that’s pretty much it, but when it comes to the actual shoot, I’ll likely do more detailed, unusual, and daring things while watching her reactions.

It all depends on her reactions.

I intend to truly bring Masako to climax using only the power of the ropes.

In AV-style SM videos, after the woman is bound, the man always inserts into her genitals.

Or, using vibrators or other sex toys, the model or actress cries, screams, and exaggeratedly writhes and arches her back.

The power of rope and the power of bondage become hollow remnants, eventually pushed into some corner.

As the bondage specialist, I’m nothing more than a servant preparing the ground for the man to have a normal fuck.

(Well, being a servant had its own pleasures, I suppose.)

But I, who believe in the power of rope, want to demonstrate once more the fact that rope alone is sufficient, capable of delivering intense sexual pleasure to a woman.

“A sparrow never forgets its dance,” or “The soul of a child remains unchanged.”

Masako said she had never reached orgasm through rope.

I will tie Masako, tie, tie, tie her up relentlessly, and make her come over and over again using only my tying techniques.

Masako.

This is probably the first and last time I will bind and torment you in this way.

Neither of us will likely ever have such an opportunity again.

So, just as I wrote this script, something like “Ten Days of Married Woman Confinement,” I want Masako to freely give me her requests without holding back.

Tell me, “Do it like this,” or “Do it like that.”

I will fulfill those requests to the best of my ability.

However, I don’t want to do anything that might injure her.

I won’t leave marks on a woman’s skin.

I dislike that sort of thing.

I also dislike seeing blood.

To be honest, I dislike causing women pain.

Therefore, my “bondage” inevitably leans toward the “aesthetics of restraint.”

My theme this time is this. What happens if I add “the beauty of the gruesome” to this “beauty of bondage?”

Having discovered Masako, a woman with a strong masochistic streak who seems capable of expressing cruel beauty, I intend to tie her up to my heart’s content.

Director ZOU.

Do you understand?

Also, when it’s Masako as the partner, I don’t need a fee.

(Please give it to Masako.)

I received a lot last time. Too much, actually. So I don’t need anything this time.

I consider what I received last time to have covered this time’s payment as well. It’s true.

Please meet with Masako.

But no matter how enthusiastic I am, if the crucial person herself reads this script and says, “I hate this,” or “I don’t want to do this,” everything vanishes, my dream disappears.

(That possibility isn’t entirely out of the question.)

She isn’t a professional model. She’s just an ordinary office worker.

When push comes to shove, she might chicken out and say no.

If that happens, Director ZOU, I’m sorry.

But, well, I’m sure it’ll all work out fine.

I’ve been doing this kind of work for nearly fifty years; this is my gut feeling.

Below, we are reprinting the feedback provided by Maruki-san with his permission.

Maruki-san’s Comment *Thoughts on the 63rd Talking Theater* November 2, 2008 22:36

Nureki-san’s passion comes through loud and clear. This will surely be a work several levels above any previous video.

Each day will yield refined footage, devoid of waste. It will be footage where Nureki-san’s passion and Sakata-san’s passion probe each other, clash, and fuse together.

My hope is that the final resolution is essential. It’s not about a respectable lady awakening to masochism while enduring cruel torment, like in “Flower and Snake.” My preferred bondage is where a man who wants to dominate and a woman who wants to be dominated express their passions within that play and mutually accept each other. If the body dominates the spirit, there’s too little salvation. I believe both body and spirit are equal entities that need each other.

In that sense, the idea ending would reveal they are actually husband and wife, seeking each other.

I’ve written quite a bit about my preferences, but I have absolutely no intention of dictating how this work should be. Nureki-san’s creation of these ten days struck such a chord with me that I couldn’t help but write these extra thoughts.

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