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 is restrained with her arms and legs spread in an X-position.

Every touch makes her twist and try to pull away.

But restrained in place, there is nowhere for her to go.

As the tickling continues, she quickly loses any room to endure it, struggling from beginning to end.

A record of her changing reactions, with every attempt to escape taken away.

Narumi — A-Position Restraint Tickling

Narumi is restrained by her hands and feet, held in an A-shaped position.

Each touch makes her twist her body, trying to escape.

But held in place, she can barely move the way she wants.

With the tickling continuing one after another, she has no room to endure it and remains overwhelmed throughout.

A record following her changing reactions to the end, with every means of escape taken away.

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.

From a spread-eagle restraint with both arms and legs held wide to a straight I-position.

As the position changes so does the way she tries to escape.

She twists away from the fingers moving along her sides but the restraints leave nowhere for that movement to go.

The expression she tries to hold slowly breaks until only laughter remains.

A record of her changing reactions through two different restraints.

Remi Ogura is restrained spread-eagle with both arms and legs held wide apart.

As fingers move along her sides she twists away on instinct.

But with all four limbs fixed there is almost nowhere for that movement to go.

The expression she tries to hold slowly begins to break until only the reaction remains.

A record of those changing reactions with nowhere left to escape.