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 está contida com braços e pernas estendidos em posição de X.

Cada toque faz com que ela se contorça e tente se afastar.

Mas contida no lugar, não há para onde ir.

Conforme as cócegas continuam, ela rapidamente perde qualquer espaço para suportá-las, lutando do início ao fim.

Um registro de suas reações em mudança, com cada tentativa de fuga sendo removida.

Narumi — Cócegas com Restrição em Posição A

Narumi está amarrada pelas mãos e pés, mantida em uma posição em forma de A.

Cada toque faz ela contorcer o corpo, tentando escapar.

Mas presa no lugar, ela mal consegue se mover como quer.

Com as cócegas continuando uma após a outra, ela não tem espaço para aguentar e permanece sobrecarregada o tempo todo.

Um registro acompanhando suas reações em mudança até o fim, com todos os meios de fuga removidos.

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.

De uma contenção em águia espalmada com ambos os braços e pernas mantidos abertos para uma posição em I reta.

À medida que a posição muda, também muda a maneira como ela tenta escapar.

Ela se contorce para longe dos dedos que se movem ao longo de seus lados, mas as contenções não deixam para onde esse movimento ir.

A expressão que ela tenta manter lentamente se quebra até que apenas o riso permaneça.

Um registro de suas reações em mudança através de duas contenções diferentes.

Remi Ogura está contida em posição de águia, com braços e pernas mantidos bem afastados.

Conforme os dedos se movem ao longo de seus lados, ela se contorce por instinto.

Mas com os quatro membros fixos, quase não há para onde esse movimento ir.

A expressão que ela tenta manter lentamente começa a se quebrar até que apenas a reação permanece.

Um registro dessas reações em mudança, sem lugar para escapar.