{
    "export_format": "krp_article",
    "export_version": 1,
    "exported_at": "2026-09-28T13:11:58+00:00",
    "magazine": {
        "id": 14,
        "title": "SM Sniper",
        "slug": null
    },
    "issue": {
        "id": 428,
        "title": "SM Sniper No. 337, September 2007",
        "slug": null,
        "issue_date": "2007-09-01T00:00:00.000000Z",
        "original_filename": "SM Sniper September 2009.pdf",
        "pdf_page_count": 266
    },
    "article": {
        "id": 5696,
        "toc_entry_id": 6945,
        "sort_order": 1,
        "title": "Dirty Conversation: The Mad Age of Kinbaku: Yukimura Haruki, Women, Rope, and the Life of a Bakushi! Part Three",
        "author": "Yukimura Haruki",
        "printed_page_label": "245-249",
        "pdf_page_start": 219,
        "pdf_page_end": 223,
        "original_language": "Japanese",
        "original_text": null,
        "translation_draft": null,
        "translation_final": "Yukimura Haruki: Women, Rope, and the Life of a Bakushi! Part Three\n\nSpeaker: Yukimura Haruki\nInterviewer: Inoue 文 [given-name reading uncertain]\n\n\nPDF viewer page 219 / printed page 245\n\nYukimura Haruki: Women, Rope, and the Life of a Bakushi! Part Three\n\nAs I became involved in adult work, I found myself being consumed by the\ndaily grind. As I struggled to make a living, the gap between what I was\ndoing for work and the way a maniac looks at these things kept widening.\nThose days of conflict, and the twists and turns of a life.\n\n\nPDF viewer page 220 / printed page 246\n\nFollowing Momoe Yamaguchi's retirement, Pink Lady broke up. As the era of\nSeiko Matsuda's overwhelming popularity began, a succession of sixteen- and\nseventeen-year-old idol singers debuted, including Akina Nakamori, Kyoko\nKoizumi, Yu Hayami, and Chiemi Hori, each aiming to become the \"next Seiko.\"\n\nThe lolicon boom arrived as well. In the adult market, the readership first\ncultivated by Shojo Alice from Alice Publishing expanded further, while\n\"lolicon magazines\" such as Lemon People from Amatoria and Manga Burikko\nfrom Self Publishing increased their sales.\n\nAt the same time, Nikkatsu Roman Porno had become established as\nentertainment for adults. It was also serving as a kind of rehabilitation\nmechanism for television personalities, casting former singer Lucia Santo\nin Female Teacher: In Front of Her Students, for example. As its momentum\ngrew, the genre was also producing one talented director after another.\n\nYukimura Haruki was thirty-two. Because of circumstances involving his\nfamily, he had left an advertising company and gone into the family\nbusiness, running himself ragged through Osaka's entertainment districts.\n\n\"Because I liked women.\"\n\nTen years passed. Once the family business had settled down, Yukimura picked\nup his camera again and left home. He entered the adult-entertainment\nindustry, something he had been thinking about for some time, and steadily\naccumulated experience.\n\n\"I don't really have many good memories of that period. I was desperate.\nI made a living doing things like Shashin Jidai and working as a\nsex-industry writer. I also did television production work. I worked as a\ncameraman too, but that was ordinary erotic photography. The bondage\nphotographs I shot using my own models.\n\n\"There was a magazine called SM Spirits, remember? When they began\nserializing my photographs, an editor just went ahead and gave me a name.\nIf he'd seen my face, there's no way he would have given me a neat, pretty\nname like 'Yukimura Haruki.' Hahaha.\"\n\nAt the time, Yukimura says, questions about his own sexual inclinations were\nless important than establishing himself professionally as a cameraman.\n\n\"I was impatient. I wanted to do the job properly. Eroticism isn't something\nsimple, you know.\"\n\nHaving entered this world through the enormous power of the mass media,\nYukimura sometimes found it painful when a job forced him into simplistic\nways of presenting things for aficionados.\n\n\"I wanted to make a name for myself as a professional. But while I kept\nshooting as work, I started losing track of what I was actually doing.\nI'd ask myself, 'How do you photograph something that's genuinely erotic?'\n\n\"But I couldn't do it at all. Just spreading a woman's legs and shooting a\nclose-up of her crotch doesn't automatically make it erotic.\n\n\"So while doing the work, I was also trying to make the kind of eroticism I\nimagined into something concrete. But I could never quite make it tangible.\"\n\nThe stress caused him to develop a stomach ulcer, and he spent an entire\nmonth in the hospital. By then the era name had changed to Heisei, and\nYukimura was thirty-nine.\n\nToday the name \"bakushi Yukimura Haruki\" is well known, but it would still\nbe some time before tying itself became a viable profession. Even after\nleaving the hospital, he continued through a period of anxiety and\nfrustration.\n\n\"I felt like there wasn't anywhere left for me to go. It was pretty\ndesperate. I was depressed, thinking, 'So what am I supposed to do now?'\n\n\"Then a friend from my television days, who was running an office for pink\nfilms in Tokyo, went out of his way to contact me.\n\n\"There was work shooting AV for manufacturers. Whenever there was a\nproduction, I'd go, traveling back and forth between Osaka and Tokyo.\n\n\"I had learned how to shoot through television, so I worked as the director.\nI wanted to do SM if I could, but mostly it was ordinary AV. 'Put this in,\nput that in.' Completely work.\"\n\nEven so, regularly being entrusted with control of a production became an\nimportant turning point. Among the companies commissioning work were\nCineMagic and Taiyo Tosho. From this period onward, Yukimura gradually\nestablished himself as an SM-video director.\n\n\"Back then I still wanted to be a still photographer. So while directing I\nwould also shoot the package photographs myself.\n\n\"Normally a director doesn't do that, right? A producer or somebody at the\nmanufacturer told me off and said I needed to concentrate on directing.\n\n\"Then I just kept getting busier and busier. Eventually I rented an\napartment in Ebisu and started living in Tokyo. That was right around the\ntime my SM-video work began increasing.\"\n\n\nPDF viewer page 221 / printed page 247\n\nFrom there, directing AV became the central focus of his professional work.\n\nAmong the SM works Yukimura directed during this period were:\n\n- Rope Virgin Hunt, starring Miki Maeda, CineMagic, 1989\n- Rope Flame: The World of Minomura Kou, featuring Ayano Serizawa and\n  Ruka Mikami, CineMagic, 1989\n- Bodycon Kidnapping Story: First Night, starring Riho Kobayashi,\n  Taiyo Tosho, 1991\n- Beautiful Captive Slave Girl: Metallic Slave, starring Kasumi Yuka\n  [performer-name reading uncertain], Taiyo Tosho, 1991\n\nYukimura was particular about his work, and he says each production involved\nits own difficulties. But among them, Rope Flame: The World of Minomura Kou\nremained especially memorable.\n\nIt was an unusual documentary covering the final years of Minomura Kou,\nknown as the editor Suma Toshiyuki of the abnormal magazine Kitan Club, as\nthe artist Kita Reiko, and as the writer Minomura Kou.\n\n\"Until then I really hadn't had much interaction with other people who liked\nSM.\n\n\"Through that production I met Nureki Chimuo. I met Oniroku Dan too, and I\nmet [name unclear in the source] as well.\n\n\"Getting to hear the voices of maniacs other than myself directly was\ninteresting.\n\n\"With reader submissions, the users, the maniacs, will say whatever they\nlike. 'Show it from six angles at once,' things like that.\n\n\"But when a manufacturer commissions you to make something, you can't\nobsess over things to that extent.\n\n\"If I tie somebody, I'd want to leave her tied for thirty minutes before\ntaking the rope off. But when a manufacturer talks about a work that will\n'sell,' you can't spend thirty minutes just doing that.\"\n\n\nPDF viewer page 222 / printed page 248\n\n\"You can't do that. You have to move straight into the sex scene.\n\n\"That sort of frustration was there too. And in terms of pursuing what I\npersonally experience as eroticism, the people I met through that Minomura\nproject gave me a tremendous amount of stimulation.\"\n\nYukimura had already been strongly affected by the Kinbaku-bi Kenkyukai\nvideo series produced by Nureki Chimuo through Fuji Kikaku. He felt that\nthe motivation behind those works was unmistakably different from things\nmade simply as commercial jobs.\n\nAt the same time, he was also conscious that if he were able to make SM\nvideos exactly as he wanted, their content would be completely different\nfrom Nureki's.\n\n\"I'd been tying women as part of my relationships with them since I was in\nmy twenties. I'd learned rope that way and enjoyed it.\n\n\"There's something interesting about watching the person you're with,\nseeing what she likes and where she likes it.\n\n\"So, in terms of feeling, my ideal was the image of genuinely falling in\nlove in the middle of the work.\n\n\"But because I was constantly being chased by the job, things became too\ndetached. My first reflection was that I wasn't achieving that.\n\n\"I had this sense of danger that if I reduced everything to nothing but the\nmentality of doing a job, then maybe I wouldn't be able to continue in this\nbusiness.\n\n\"So I thought I needed to take the model more seriously. Even if it was only\nfor that one day, I needed to become more serious about her and put more\nfeeling into it.\"\n\n\"If I was going to shoot that way, then in my case it would probably become\nsomething like serving the woman through rope. That was how I thought about\nit.\"\n\nIn 1992 Yukimura established Sunset Color, his own production office devoted\nprimarily to SM video, in Ebisu, a neighborhood he had become familiar with\nsince moving to Tokyo.\n\nHe had decided to present his own particular conception of eroticism to the\nworld in the form of an original label.\n\nNearly twenty years had passed since the days when he had tied snack-bar\nhostesses in Osaka's entertainment districts. It was a new beginning after\nthe age of forty-one.\n\n\"As for how I felt... I don't think I was having fun.\n\n\"I kept thinking, 'How am I supposed to shoot this?' That was all I thought\nabout.\n\n\"Instead of relying on sex scenes to carry the video, how could I make the\nbondage itself interesting enough to hold the viewer?\n\n\"It felt like a challenge. I had absolutely no breathing room at all.\"\n\nThe first SM video produced by Sunset Color was Rope Service 1: Wet Reiko\nMorimura [complete subtitle reading provisional].\n\nAt Yukimura's insistence, it was not shot in a studio. Instead, filming took\nplace in a corner of the office, an ordinary apartment room. The crew was\nreduced to only about three people: an assistant director, a cameraman, and\nYukimura.\n\nThe intention was to create an intensely private atmosphere and capture\nMorimura's unguarded responses. Reflecting the fashion of the period, her\ncostume was a bright-red bodycon outfit.\n\n\"You like this kind of bondage best, don't you?\"\n\nMorimura lowers her refined face and stiffens as the rope is placed around\nher. The trembling of her dark eyes gives an almost painfully vivid\nimpression of her tension.\n\n\nPDF viewer page 223 / printed page 249\n\nThe viewer's anticipation rises still further.\n\nBut once Morimura, with her demure features unchanged, is subjected to a\nmajor gag, she suddenly displays an expression of erotic intoxication. She\nslowly begins to move her body, almost as though she has been hypnotized.\n\n\"I'd shot this girl once before Rope Service, for CineMagic, and she'd made\nan incredibly strong impression on me even then.\n\n\"I still remember it. It was a documentary-type project in which she was\nsupposed to experience SM for the first time.\n\n\"We took her to Alphain, an SM hotel in Tokyo.\n\n\"When she entered the room, there were all those implements and things\nsitting there, right? She saw them and started crying.\n\n\"I thought, 'What a wonderful reaction.' My heart was pounding. There was\nsomething about her that I could feel.\n\n\"She probably really did have masochistic tendencies.\n\n\"So when I filmed her again for Rope Service, both she and I had this\nstrange sense of suspense about what might happen.\"\n\nMorimura is bound with her legs in an M-shaped position. The tip of the\nriding crop in Yukimura's hand moves gently between her legs.\n\nHer shapely breasts tighten as she exhales. When the suddenly reversing tip\nof the crop brushes against a hardened nipple, her slender body jerks\nviolently upward and a sweet cry, almost like weeping, escapes her.\n\n\"If you're getting wet, that's proof, isn't it?\"\n\nAs he says this, Yukimura teases Morimura through her panties. Though\nembarrassed and made to feel humiliated, she cannot keep herself from moving\nher full, pale hips in an obscene, coaxing motion. Her cheeks grow flushed.\n\n\"I was over forty then, right? She was only around twenty.\n\n\"I was conscious of that age difference, and I kept thinking: how do I tie\nher, how do I torment her, so that, even if it's only for one day, we can\nbe in love?\n\n\"That was what I was thinking as I worked on her. I was completely absorbed.\n\n\"This really is a documentary of an actual romance, isn't it? And I'm the\nprotagonist.\n\n\"There's nothing more embarrassing than that, so you end up becoming more\nand more desperate about it.\"\n\nMorimura, panting and radiating intense sensuality, is pushed further. Her\nalready reddened, wet body is brought to the limits of defenselessness. She\nis then rebound with her hands behind her, laid face down, and Yukimura\nstraddles her, continuing his heated attentions.\n\n\"At that moment, we're together. We're lovers.\n\n\"For me, even after the shooting ends, I want to make such a strong\nimpression on her that she carries it with her afterward.\n\n\"Whether the other person is completely concentrated on what's happening\nor not makes all the difference. That's especially true with SM video.\n\n\"I take pride in that.\n\n\"I wanted the bondage I did to become more erotic than the bondage somebody\nelse did.\n\n\"In the early days I concentrated too much on shooting technique, and there\nwere times when I was physically there but not completely in it.\n\n\"But I put my feelings into the bondage. At that moment I'm giving it\neverything I have.\n\n\"I'm competing in a place where I can't make excuses.\"\n\nOnly at the very end did they shoot several minutes of an intercourse scene.\n\nUntil then, Yukimura had attempted something he had previously wanted to do\nbut had been unable to accomplish: to carry the work all the way to its\nconclusion using only the image of a woman experiencing sensation through\nrope.\n\nThe result was a production overflowing with Yukimura's particular\naesthetic and determination.\n\nBeginning with this commemorative first production, the Rope Service series\nbecame one of Sunset Color's signature titles and was released regularly\nthereafter.\n\n\"In the end, it's a question of how far I can reach her.\n\n\"Sometimes when I'm tying her, I'm there with the feeling that maybe I'm\nactually going to stay right here and live with this woman.\n\n\"That's how I feel every time.\n\n\"Which means, conversely, that if I don't have myself together, things can\nbecome very serious.\n\n\"I've learned plenty about what it means to become involved with a woman\nwhose masochism runs deep.\"\n\nThe voyage of Yukimura Haruki as a bakushi had only just begun.\n\nThe footer advertises Yukimura's live event \"Y's Play Bondage,\" scheduled\nfor August 5, with admission listed as 10,000 yen for men and 5,000 yen for\nwomen.",
        "translator_credit": "KRP",
        "article_summary": "In the third installment of this interview with Yukimura Haruki, Yukimura\nrecounts his transition from advertising and commercial photography into\nadult video production and SM filmmaking. He describes the frustrations of\ncommercial erotic production, his encounters with Nureki Chimuo, Oniroku Dan,\nand Minomura Kou, and the influence of Nureki's Kinbaku-bi Kenkyukai videos.\nThe interview then traces the establishment of Sunset Color and Yukimura's\neffort to create an approach to SM video centered on emotional intensity,\nrope, and a temporary but deeply felt relationship with the model.",
        "research_notes": "Interview with Yukimura Haruki. Interviewer credited in Japanese as 井上文.",
        "translation_notes": "Source coverage: PDF viewer pages 219-223; printed pages 245-249.\n\nThe article is omitted from the recovered printed table of contents and is\ntherefore an editorial KRP TOC addition.\n\nThe interviewer credit is printed as 聞き手＝井上文. The surname Inoue is\nclear, but the given-name reading of 文 is not supplied by the source and\nshould remain uncertain.\n\n美濃村晃 is normalized in KRP as Minomura Kou.\n\nOne personal name in Yukimura's account of people he met during the Minomura\nKou documentary remains difficult to resolve confidently from the scan.\nNureki Chimuo and Oniroku Dan are clear.\n\nThe first Sunset Color Rope Service title involves Morimura Reiko, but the\ncomplete Japanese subtitle is difficult to verify from the available scan.\nThe English rendering in the translation is therefore provisional.\n\nNo complete Japanese transcription has yet been entered into original_text.",
        "research_status": "published",
        "translation_status": "approved",
        "translation_updated_at": "2026-09-17T23:55:07+00:00",
        "translation_reviewed_at": "2026-09-17T23:55:07+00:00",
        "translation_reviewed_by": "KRP",
        "translation_approved_at": "2026-09-17T23:55:07+00:00",
        "translation_approved_by": "KRP",
        "created_at": "2026-09-17T23:55:07+00:00",
        "updated_at": "2026-09-17T23:55:07+00:00"
    }
}