With her permission

this session went longer than usual.

Held in the same position

tickled from the front from the side from different angles.

A short break then it starts again.

Her voice and reactions gradually change over time.

A record from the Tickle Room.

Lotion Tickling — Reina Kashiwagi

The second half, with lotion.

Reina Kashiwagi genuinely hates being tickled.

After taking things slowly through the first half,

we moved on to lotion.

Slippery hands changed the sensation.

The atmosphere and her reactions shifted from the first half.

Little by little, her expressions and voice began to change.

A record from the Tickle Room.

Reina Kashiwagi hates being tickled.

On the day of the shoot she found out that multiple people would be tickling her and for a moment it felt like the whole shoot might be called off.

We took our time with her

carefully building the atmosphere without rushing anything.

The mood slowly shifted.

So did her reactions.

This is another record from the Tickle Play Room.

Fixed in an unusual position.

From behind From the front From below.

Two women at the mercy of multiple hands.

This time with special permission

we kept the tickling going longer than usual without stopping.

Every change in their reactions as time passes left exactly as it happened.

A record from the Tickle Play Room.

Ranran Hanamitsu and Mako Akikawa were called into a new studio.

Restrained in an unusual position

hands came from behind from the front and from below.

The two were kept busy from every direction.

With special permission this time

we were able to keep the continuous sessions going longer than usual.

The electric anma × tickling experiment was left unreleased.

As always nothing was fully planned.

The shoot stayed freestyle from start to finish.

Somewhere along the way they somehow ended up with new names

but that scene was also left unreleased.

Cat ears appeared and disappeared.

A record from the Tickle Playroom.

Narumi è immobilizzata con braccia e gambe divaricate a forma di X.

Ogni tocco la fa contorcere e cercare di tirarsi via.

Ma immobilizzata sul posto, non ha nessun posto dove andare.

Mentre il solletico continua, perde rapidamente ogni spazio per sopportarlo, lottando dall'inizio alla fine.

Una registrazione delle sue reazioni mutevoli, con ogni tentativo di fuga portato via.

Narumi — Solletico con Restrizione a Posizione A

Narumi è immobilizzata per mani e piedi, tenuta in una posizione a forma di A.

Ogni tocco la fa contorcere il corpo, cercando di fuggire.

Ma tenuta ferma, riesce a malapena a muoversi come vuole.

Con il solletico che continua uno dopo l'altro, non ha spazio per sopportarlo e rimane sopraffatta per tutto il tempo.

Una registrazione che segue le sue reazioni mutevoli fino alla fine, con ogni mezzo di fuga tolto.

A-position, X-position, and finally, lying restraint.

Narumi is restrained in three different positions.

As each position changes, so does the way she tries to escape—and the way she reacts.

She twists her body to pull away, but the restraints leave her nowhere to go.

With the tickling continuing, she has little time to recover and remains overwhelmed from beginning to end.

A complete record of her changing reactions across three different restraints.

Narumi is restrained on the bed, unable to move her arms or legs freely.

Every touch makes her twist and pull away, but the restraints leave her nowhere to go.

The tickling keeps coming, giving her almost no time to recover. She stays overwhelmed from beginning to end.

A close record of her reactions changing as every attempt to escape is taken away.

Remi Ogura is restrained in a straight I-position, both arms stretched overhead.

Each touch along her sides makes her twist away, but held in a straight line, there is almost nowhere for that movement to go.

Her controlled expression slowly breaks down until only the reactions remain.

With even the smallest room to escape taken away, this is a record of her changing reactions from beginning to end.

Da una posizione di contenimento a spread-eagle con entrambe le braccia e le gambe tenute larghe a una posizione a I dritta.

Mentre la posizione cambia, cambia anche il modo in cui cerca di scappare.

Si contorce lontano dalle dita che si muovono lungo i suoi fianchi, ma i lacci non lasciano spazio a quel movimento.

L'espressione che cerca di mantenere lentamente si spezza finché non rimane solo la risata.

Una registrazione delle sue reazioni mutevoli attraverso due diversi tipi di contenimento.

Remi Ogura è immobilizzata a braccia e gambe divaricate, con entrambe le braccia e le gambe tenute larghe.

Mentre le dita si muovono lungo i suoi fianchi, lei si contorce per istinto.

Ma con tutti e quattro gli arti fissati, quel movimento non ha quasi nessun posto dove andare.

L'espressione che cerca di mantenere lentamente comincia a rompersi finché rimane solo la reazione.

Una registrazione di quelle reazioni mutevoli senza alcun posto dove scappare.