Tokyo Damage Report

Yamamoto Ryuuji’s DANYUU part three


This is a translation of Part 3 of Yamamoto Ryuuji's autobiography, called DANYUU (male actor). (part 1 is here)   (part 2 is here)

You can buy it here.

Also if you want to meet him, he runs his own bar about 10 minutes’ walk from Kouenji station – basically near the Kannana Doori / Waseda Doori intersection. The bar is called RYUU-CHAN.
There is a LOT of show-biz slang in the book, and I tried to preserve that feeling by keeping the original Japanese show-biz slang instead of using the equivalent English words.  To make this less daunting, I went ahead and made a little glossary of terms on a separate page, I would advise that you nerd out and keep both windows open while reading.




A lot of pinku eiga  haiyuu  (actors) – more than you’d think  –  originally came from gekidan (traveling theatrical troupes).  And a lot of them refused to go over to the new AV business. Generally speaking, their logic was like this: pinku eiga  had some imagination, and some artistic standards, and AV had none. But in my case, it was just a matter of money. Well, and also girininjou (Japanese code of honor and obligation): if an AV kantoku invited me, I would be dishonorable to reject him. I didn’t have high standards like the gekidan-trained actors, so my transition to AV was smooth.

In any case, the transition wasn’t sudden or dramatic. For a while I was doing both at the same time, but as the pinku eiga  industry sunk further, I naturally did incrementally more and more AV until that was all that was left!

In my case, I started getting AV offers right after I’d only made a few pinku eiga . The offers came from Nikkatsu, a ‘pinku’ subsidiary of a major studio, which must have been having financial troubles. Anyway, to further hide the respectable parent company, the pinku eiga  Nikkatsu made were released under the brand-name Mimizuku Video Park.

One of my old friends, who used to kyouen joyuu  (female co-star) with me in the pinku eiga  days, was Natsu Reiko.  A real beauty, who looked like  Itou Ran from the group Candies

We worked on one AV together, too – can’t quite recall the name of it, but it had a daihon (script), and took four days to film, which would have made it a very top-quality AV. Actually, the whole production values were pinku eiga -quality, the difference was, it was video.

The shuen were Natsu – a real veteran, and some shirouto (novice) girl who had never even done AV before.  The kantoku asked me which one I wanted to fuck. Without hesitation, I picked Natsu.

It wasn’t until later that I realized that the “new girl” was in fact Miho Jun, who I’d worked with back in the pinku eiga  days! She wound up kyouen (literally, co-performing, but you can guess the AV meaning) with Hayami Kenji, so it was all OK.

In those days, all AV performers wore maebari (basically some tape or a small menstrual-pad taped over the genitals), but of course these days it’s quite different! By the way, we used maebari in pinku eiga  too, so we had some experience with them. But for a first-time haiyuu  (actor), it must have been quite a shock! You had to wrap your penis in gauze like a mummy! And the tape  around the gauze went all in your inmou (pubic hair) and was quite painful to remove. The suffering of the new people was amusing to us!




As soon as I’d done one AV, the rumor spread that “Ryuuji is now an AV actor!”, and so I began to get offers to do others. The first time, I was introduced to the AV company by my senpai , Seki Takashi.

But this company wasn’t making videos for average guys to buy – they were only for sale to love hotels to show on their proprietary “H channels” . . .not something you can find these days!  As with the birth of any new industry, there is a lot of ‘trial and error’ as the producers try to find their market.

The producers in this case were Nihon Video Center (NVC), whose jimusho was in Kouenji. Mr. Furui, the shachou, decided to direct it on a whim, and he was just a total amateur! He didn’t even say “Yooooi, staaart!” to cue shooting, he’d say: “Hai, dozo!”

His kyakuhon (script and ideas therein) was also terrible. Even the cameraman looked like some goofball who usually video’ed weddings and bar mitzvahs.  In spite of this, a fair number of ex-pinku eiga  haiyuu  such as Kubo Shinji acted in it. The joyuu  (female leads) were almost all shirouto (amateurs), though. But one thing was similar to modern AV: they had us do honban (actual penetration). That was fine with me, of course, but some of the more old-school pinku eiga  guys said no way. 

But some guys, like me, made the transition quite easily and even became more famous, not less: Hayami Kenji, for example.  Hayami looked like a hosuto (gigolo), so we used to call him ‘nimaime’ (‘nimaime’ refers to the role of the good-looking guy). In fact, he would have been better off modeling, if you ask me! Another guy who became more famous after his transition to AV was Hibiya Tatsurou. He also starred in ura-video (illegal, uncensored video), as well as animation.

Then there were those, like Anal Shihara and Rassha Miyoshi, who started as  ero zasshi (erotic magazine) models or editors of same.

In other words, in the early days of the AV industry, the danyuu came from all types of work- there was nobody famous just for being an AV idol, like there is today.




Even from the very beginning of my AV career, I didn’t do ippanna videos , I was more oriented towards the abnormal, the maniakku world (literally ‘maniac’, but not like serial killer, more like super-otaku or super underground), the extremes of what people could do with their bodies.

One time, after we finished satsuei, I was having a drink with the joyuu, named Takashima Juri, and she said, “I’m doing unko (poop) videos now, but there aren’t enough danyuu willing to do them, so I’m looking for someone.” I was drunk at the time, so I responded, “Ha, that sounds funny! Introduce me to your boss!”

So that’s how I met the boss of Video International, at their jimusho near Shinjuku Park. The shachou said, “It’s difficult to explain, so just watch the video.” The first scene was nothing but a monosugoi oshiri (huge ass), and the camera pointed straight up at it. The koumon (butthole) looked very full, and sure enough, an unko’s head came out, like the famous scene in Alien! Then it was pinched off and dropped to the ground. All this very close-up shooting required some new camera techniques – and the cameraman was clearly up to the job, swiftly panning to follow the unko as it landed in the wide-open mouth of an old man. Then the shachou stopped it, and said, “Yamamoto! That old man passed away recently. What do you think about replacing him?” As you can imagine, this sudden introduction to unko video was a bit of a culture shock for me. I replied, “Shachou, please give me a few days to think it over.”

Soon, I went to see my friend and fellow danyuu, Ikeshima Yutaka, and explained the situation. He said, “Ryuuji, you’re a yakusha! An artisan. A true Yakusha should be able to do any role. This is a very rare opportunity for you to expand your skills. Eating the unko, hmm. First of all, people with a normal lifestyle couldn’t tolerate it. You are one of a select few, who could conceivably be capable of it. Definitely you shouldn’t pass up this chance.”

And that’s how I came to accept the offer. Although, looking back on it, maybe I asked the wrong guy for advice! I mean, what the hell.

This kind of sukatoro AV (from the English ‘scatology’) involved a woman doing haiben (defecation) onto a man, who was forced to take the unko. You could say there was an S/M nuance to it. But the characters I generally played were funny guys, in erotic comedies, with sunny dispositions. I had to think about how to make the two parts fit. At that time, a new TV program debuted, called SANMA NO MANMA  (Mr. Sanma’s Baby-food)

The format was like this: Every week, a new guest would come into Mr. Sanma’s room and they’d talk about interesting or weird topics for half an hour.

This show gave me a hint of how to do my own show: we’d have a set which would look like my room, and every video, a new joyuu  would come in and talk to me like on Sanma No Manma. Because of the talk-show format, the joyuu  wouldn’t need any acting experience, which was also a plus: we’d just talk about AV that she’d previously shutsuen (appeared in). Then she’d say, “Well, today’s video is a bit different from those, I think!  Today I’ve come to Ryuuji’s room to give him some unko!”

And with that, we’d begin our fetish scene.  I’d put my finger in her koumon, lick it, and sometimes put some beads up there. We’d play with the koumon for a while, and then finish up by me opening my mouth wide, to receive her unko. I’d eat some of it, smear my body with the rest, and finally slick my hair back with it, as if it was pomade.



After we’d made around twenty videos in this series, I got a phone call from the shachou: “Yamamoto! Your videos are still selling, but the graph of ‘increased sales’ is leveling off.  Sales aren’t declining, but you’re not making new fans anymore. Do you have any ideas to make a new series?” I supposed I should have just said ‘no,’ but I wanted to be a team player, so I replied: “I see what you mean, boss. I’m just eating unko now, but what if we did a cooking show parody where we’d properly cook it and then eat it?”

 “Yamamoto! That’s it! Exactly!” said the shachou, completely filled with joy at the notion. And that’s how we – regrettably – started our parody of the popular THREE MINUTE COOKING show, called THREE MINUTE UNKO COOKING. Even our intro music was a parody of theirs.

“Welcome, everyone. Today I’ll teach you how to make unko curry. It’s easy to cook, just unko and rice. If you can do it, make sure to have geri (diarrhea) first.” And so on.

Of course, even normal people think curry looks kind of like diarrhea, so this was an obvious starting point. The video sold well, so we moved on to ‘unko spaghetti.’

Then it was ‘unko sushi’ with the unko being very sticky as if it was nattou.

Then there was curry noodle unko (like cup’o’soup), and even unko chatsuke (rice with green tea poured over it). We boiled the unko fiercely to make it have a liquid, tea-like texture, which made it comparatively worse-tasting.

 The truth is, I’d put the unko cuisine in my mouth, but I wouldn’t swallow it. After the satsuei (shot), I’d puke it into a little bucket which we kept for that purpose.

But this time,  shachou said, “When you drink real chatsuke, you slurp it, right? You should slurp the unko chatsuke, that way it will sound delicious! Slurp it at least three times.”

There was no escape, I’d been given a direct order. But since the unko was watery like tea, it should slide down my throat easily. So that’s the only time on the show I actually swallowed unko.

By the way, my body immediately had a negative reaction. I began to vomit, but tried to be a professional and restrained myself. This made the vomit shoot out of my nose instead of my mouth. Can you imagine unko squirting through your nasal passages?!?

There’s no way to wash it out. For a week I smelled that odor. It wasn’t pleasant, even for me. And actually, it wasn’t even the first time I’d had an ‘un-erasable’ odor stuck in my nose. I blame it on the unko stuck somewhere inside me. . . 

No matter how many times I’d wash with soap, take a shower . . .I still smelled it. I’d try to forget my troubles by going drinking after work. But even the osake started to smell like unko! I kept washing myself obsessively but couldn’t figure out where the stink was coming from. 

Maybe it was trapped deep in my fingernails. I began cleaning them with a toothpick, and soon the people around me at the bar began turning their heads, trying to see where the stench was coming from. To be brief: the smell of unko is very persistent.

Usually AV only uses one camera, but THREE MINUTE UNKO COOKING used no less than three!

It was essential to perfectly capture the exact instant the unko is released, and we developed the three-camera system. The first camera was on the woman’s face, second was on her koumon, and the last one was on my body which received the falling unko.  Towards the end, we were up to seven cameras. A normal person can’t understand the importance of the ‘plop shot’, but to the sukatoro fans, that one instant is the high point of the entire video.

It’s really a very specialized world.



I’ve been struggling to articulate my memories of that sukatoro series, and I just had a huge breakthrough; if I may use English, the series was EPOCH MAKING (epokku meikingu!)!  Until me, there had never been any sukatoro variety shows, so my kyara (my character) really stood out from the rest (The rest?!? – ed.)

This was a new kind of sukatoro AV, one that tried to ‘jump in the spotlight’ of the trends of pop culture. And the media came calling for me! For example, Magazine House’s ‘Heibon Punch’ magazine gave me a call. They were sending  J. Taro to interview me. They took my picture, too, standing in our studio next to a gigantic fiberglass unko sculpture.

After that, Sports Shinjuku and some ero zasshi (erotic magazines) came to gather material for their own articles.  For some reason, even the reporter for the Toilet Industry Magazine dropped by! In fact, even TV reporters asked for interviews, but of course I turned them down. Why? Well, at the time, my new job was a secret from my wife!  At least in the beginning. . .

She didn’t read sports magazines or ero zasshi, but she sure did watch TV.

She’d met me when I was doing pinku eiga , but she forgave it, saying that she understood that “It was a necessary but regrettable step on the road to me becoming a film actor, and there was no actual sex. So, temporarily, it’s OK.”  but AV and eating unko was not something I was able to tell her.

But in the end, I got caught. I threw out all the sports magazines and ero zasshi featuring articles about me, but I couldn’t bear to throw out  Heibon Punch. And my wife found it on our bookshelf and read it!

I’d been with my wife since the early days filming jidaigeki in Uzumasa, my hometown, and she’d always supported me. So, upon discovering my real job, she flew into a huge rage: “You’re doing what for a living?!?!? You’re the worst! Tell me now, and don’t mince words: will you choose me or choose unko?”

But at that time, I had just come home from a bar, so I was a little drunk. . .so I tried to joke my way out of it: “Hold on a minute – just because it ends in ‘ko’ doesn’t mean it’s my girlfriend! (most Japanese women’s names end in ‘ko’) It’s not a person, it’s an object, so don’t try to compare yourself to it,” and so on.

This was not the right thing to say, and our relationship became very difficult after that.




In the end, I chose unko.

And yet, because of the success of my unko franchise, I got offers from many other AV companies: “That Yamamoto will do anything!”  One such call came from F.A. Productions’ Henry Tsukamoto. We first met at Shinjuku’s Nakamura restaurant at noon. He said I should look for “The guy who resembles Lionel Ritchie.” I looked and looked, and finally heard a voice calling my name. But he didn’t look like Lionel Ritchie at all – more like Minami Ranbou!

I asked him what kind of video he had in mind. And, just as a large group of housewives and young couples walked past, Tsukamoto banged the table and yelled, “Yamamoto! Sex is rape!” Embarrassed, I told him to quiet down, and added: “Rape is not my thing. Leave that to the mitsumaeme (literally: the third-billed actor).” He responded, “No, this story calls for a rapist with precisely your kyara (your character, your persona).” He didn’t budge an inch, so, for now, I agreed with him and took the assignment.

The day of the shooting, I went to the meeting-place, expecting a company van, but it was just Tsukamoto and his family’s car. And no crew at all. I asked him about it but he just said, “My company doesn’t have any employees.” Eventually the joyuu  showed up, and I said hello. Then: “Where are we going?” “Where indeed!” was the only reply. Did he really not have a location yet? “Ryuuji, just shut your eyes. When you awake, we’ll be there.”

Turns out, we stopped at Jukai forest, by Mt. Fuji. The joyuu  changed into a high-school girl uniform, while I changed into my rapist costume. There was, of course, no daihon (script). Tsukamoto just said, “I’ll explain it as we go: a high-school girl goes walking in the forest, and faints. And then you drag her to your cabin in the woods and assault her there.” “Why is she walking in the woods?” “Who cares?”  What an attitude on this guy! Well, I was pretty unsatisfied, but here we were, so we shot a very boring, mediocre rape scene. A few days later, I got another call from Mr. Tsukamoto. He wanted to do another film, so could we meet again at the same spot? This time, no joyuu  even showed up – just me and him.

“Is the girl not showing up?”

“This time there’s no girl.”
I got a bad feeling about this.

“For now, just get in the car.”

“You want me to fuck you, Henry-san?”

“Don’t be ridiculous, Yamamoto. Now get in, and meet your partner.”

Again, this bad feeling.

Looking around the car, my spirits were not improved. . .there was nothing but a cardboard box. In the box was a chicken. “Henry-san, you want me to fuck this chicken?!?”

“Of course, Yamamoto. Today is chicken-rape-movie day.”

And again we drove to Kiumi, by Mt. Fuji. “OK,” said Director Henry: “Release the chicken. But we only have one, so don’t let it get away, whatever you do.”

And with that stern warning, satsuei began.  OK, in the spirit of cooperation and professionalism, let’s try to somehow rape this chicken, I thought to myself. But try as I might, I couldn’t keep hard, so Henry-san said, “Look, you’re going about it wrong. Please rape the chicken as if it was a pretty girl. I want to see you call it names and humiliate it,  try to psychologically break its will.” But in the end, all I was able to do was the verbal abuse part. I was failing! “What should I do?” “Well, humm. Keep on ad-libbing. ‘Don’t run from me, bitch!’ that kind of thing. . . Yeah. . . chase her around for a while, and see what happens”

This guy was just too much!

So I chased the chicken, and yelled, “Don’t run from me, bitch!”

Surprisingly, Henry really liked the resulting chaos: “Yeah, yeah! It’s starting to feel like a real rape in progress here! OK, now take off her clothes!”

“her what?”

“She’s a chicken! Chicken’s clothes is feathers! Please pluck her before you rape her,” declared Henry, very matter-of-factly.

When I tried to ‘disrobe’ the chicken, she began to raise a huge ruckus. “Yeah, yeah! It’s getting vigorous! It’s heating up out here. Now, go ahead and do her!”

He was very excited, but I wasn’t. I flatly refused.

“What? I thought you are Ryuuji, the man who would do anything!”

A direct challenge to my reputation. Deciding to do my best, I psyched myself up, and ejaculated directly in the chicken’s face, against its wishes. I breathed a sigh of relief that the shoot was finally over. But, Henry said, “Yeah, that was great! OK, now kill her. Please cut her head off. After all, you’re a raper.”


“What? It’s normal to decapitate a chicken, that’s how they do it on the farm. But do it like you’re killing a pretty lady that you’ve violated: ‘You’ve seen my face – I can’t let you live!’ That sort of thing.”

It was grotesque, but I’d already come this far –it couldn’t be helped. But I felt despondent – it was too cruel. So I could only cut her neck halfway, which just made things worse for everyone, as she again kicked up a mighty struggle. In fact, she got away, head dangling, blood spraying onto me, as I chased after her again.  Finally, I caught her, and sawed her remaining head off. Henry had gotten too excited, and was now yelling in a strange voice: “Oh! Yeah! Ooooh! Ho ho ho ho!” He was even more abnormal than I’d thought.

I said, “It’s too pathetic to leave her like this. Let’s eat her, or at least give her to a restaurant.” But Henry just grabbed the body and threw it deep into the Jukai forest. This was truly an inscrutable man, it was impossible to understand his thought process. Undoubtedly crazy, but talented.



Not long after Henry’s video, I received another phone call: This time from a company called Video Studio 83. They were also fairly abnormal. Video Studio 83 was run by a collective of tailors, Radio Shacks,  and rug-sellers from the city of Chofu. In other words, a shoutengai (shopping mall)! But business at the mall was bad, so the shoutengai Business Owners’ Association took their last savings and started an AV company, it seemed.

They didn’t use any AV jimusho (managers or companies). Instead, they did everything themselves, only relying on ‘regular’ AV companies for their joyuu  (female porn-stars). We were to meet at a Chofu Royal Host (family-style restaurant), but they said, “Look, as long as we’re here, let’s all relax and eat for a while,” and it looked like we’d never start satsuei at all!  Well, that’s kind of odd, I thought. The girls eventually said, “We have to do our makeup,” and left. Eventually, I said, “OK, we’ve already taken enough time – why don’t we  go to the studio and make the film a little?” But we had to wait for the girls.

“Why are we waiting so long?”

The reply : “Well, it’s crowded in there.”

Apparently, they were getting their make-up done at the salon in the shoutengai – and they had to wait in line behind the regular customers! I suppose they wanted their AV to help the shoutengai businesses as much as possible, but still! At last, they led us to a tiny room in the back of the shoutengai business association’s office space, and we began satsuei.

But even during shooting, we had to use the shoutengai’s businesses for all our needs, so time continued to go very very slowly. Even the mama-san of the local ‘snack’ bar was called in to ‘consult’ on the girls’ make-up. She was fairly old and spent most of the time in a chair, nodding off.  Safe to say, I was pretty sad. What a bunch of shirouto (amateurs), I thought! And – hold on to your seats – the  company’s products clogged the shelves of the local video rental shop. They really had their ‘circulate money among the local shops’ system down, anyway.

Of course, when the AV industry developed and became more sophisticated, we adopted the exact same business model! So I suppose the joke was on me for thinking Video Studio 83 was a bunch of hicks. That’s the point of this anecdote, anyway!

Here’s another Video Studio 83 episode:

The local tailor was supposed to be the danyuu, but it seemed that the previous evening he’d won a substantial jackpot playing mah-jongg. He didn’t have to do poruno anymore! So they called another old man, but my new kyouen (co-star) was paraplegic – his legs had been paralyzed from birth. So suddenly we were making a cult film – more John Waters than John Holmes.

Another time, the Video Studio 83 people found out I was doing sukatoro video, and asked me if I’d do one for them, too. It was fine with me, but – typical Video Studio 83 – the girl they’d picked to kyouen absolutely could not unko in front of people, no matter how she tried. The whole project was in jeopardy!

The ’83 members gathered together and decided to have one of the shop-owners (another older guy) make the unko in a cut-away shot.  Naturally, the tailor volunteered. They tried to do a really extreme close-up, with the girl’s voice over-dubbed, so people would think it was a young girl’s koumon. But the first take, the old guy’s balls were in the shot. They had to re-take it, with him holding his sack out of the way. You could say it was a swindle, but still this video could be found on the shelves of the shoutengai video-rental shop!

But Video Studio 83 eventually fell on hard times, and I began to get fewer and fewer assignments from them. The last straw was a  keshiwasure video for love-hotels., where I impersonated the famous film critic Yodogawa Nagaharu.

Well, you have to draw the line somewhere.

(keshiwasure (literally ‘forgot to erase video’ ) is a kind of poruno that is supposed to be a home-made sex tape, which the participants (often celebrity look-alikes) ‘forgot to erase’)

In the end, Video Studio 83 finally went bankrupt in the late ‘80s. The AV industry was becoming more professional, more sophisticated, and the big companies were gobbling up the little ones, and the industry as a whole developed strict rules for how things were to be done. But in a way, I miss the chaos of the early days, with the shirouto companies, the trial-and-error productions, the zany ideas, and try-anything mentality.  It was a lot of fun!




At the same time I worked with Video Studio 83, I also worked with SAMM (nowadays called Houtomo Media Productions, or HMP). Out of all the current AV companies, SAMM was and is the most honest. It all started at Nikolas, Japan’s first-ever S/M club, a secret club which was hidden in the basement beneath a Roppongi pizza parlor. Mr.  Kayama, the owner, decided to branch out into AV as well.

He ran the AV out of the back room of his very high-end S/M club, but the sound of the dominatrix’ high heels in the ‘animal training room’ next door made it impossible to get anything done! All in all, it was a problem most normal entrepaneurs do not face.

As the AV industry became more organized into a few large conglomerates, SAMM was able to keep up with the changes, and eventually became a large company in its own right.

I didn’t want to do AV my whole life, so I tended to keep my distance from the bigger AV companies, (who, being influential, could capture and keep stars under duress somehow, it seems – ed.) On top of that, my wife started again asking, “Who will you choose? Me or the unko?” so I stopped doing sukatoro videos, and tried to keep my distance from the whole sukatoro industry, doing only normal AV. Because of this, rumors began circulating in the maniac circles that “Yamamoto Ryuuji is dead!”

I guess sukatoro maniacs are so single-minded they didn’t even watch regular AV! They figured, “If he eats so much unko every day, it must have finally killed him!”



After she found out I was doing sukatoro AV, my wife said “Lips that touch unko will never touch mine!” and refused to kiss me. After that, our relationship was at a low point. At that time, I met a more compatible woman. Her name was Oozawa Yuuko She’d started out as a popular prostitute in Susukino (the brothel district of Hokkaido), and then made her AV debut in the “Naitai Queen” series. I met Oozawa on the set of a pinku eiga  directed by Hamano Sachi, a female pinku eiga  kantoku.

Oozawa’d done a lot of AV, but was unfamiliar with the ‘pseudo-sex’ done in pinku eiga , so I taught her all my techniques.

She really looked up to me, being very polite. For example, when I visited her at home, she would say, “Can I get you something to eat? Some unko or something?” Actually, I really like women who make fun of me like that! But when she looked at me, I could feel the emotions in her eyes, and it’s rare to meet a lady like that. So, naturally, we wound up spending more and more time together.

In the end, I divorced my first wife, and remarried with Oosawa and had a child. Because of that, I asked her to quit doing AV. But she was very young – only 19 at the time of our marriage, and 20 when she had the child. So she still had a lot of ambitions, and a lot of things she wanted to try, including AV. It was impossible to keep her home raising kids. And perhaps I was a bit too forceful in demanding that she turn into an obedient housewife.

But on the other hand, she had a serious neurosis about child-rearing.  And our relationship became a vicious circle of ill will. In the end, I had to divorce her as well, but luckily my career had taken off and I was too busy with work to let it get me down.




Honestly, I’m just a danyuu (traditional actor) who fell into AV by accident. In other words, when I first entered the industry, there was no such job description as “AV danyuu” (i.e. a man who only does sex scenes). If you had said to me, “Those roles you did, those were AV danyuu roles!” I would have been surprised to realize that: “Oh, I guess so, huh!” 

I’d always assumed my AV work was just like pinku eiga  only somehow more so. “No,” you say, “You were doing the job of AV danyuu.” “Ah, is that so?” Honestly, that’s how I felt.

But, in the end, I would tell you this: “I did pinku eiga , but also yose (traditional Japanese variety theater), also television, eiga , butai (stage theater), and so on. I did a lot of things! And even within maniac AV, there are many sub-genres which I performed in. And I have not a few fans. Therefore, I don’t feel like I’m nothing but an ‘AV danyuu.’”

However, I’m not repudiating the ‘AV danyuu’ label out of a disdain for pornography or the porn industry. If anything I am greatly moved by their acceptance. Because of my activities in the ‘cult movie’ world, I’ve been called a ‘cult player’. But even there, I’ve had the opportunity to act, direct, and pitch ideas. More than just being a danyuu, I feel like a man playing around  in an ‘adult wonderland.’ 

I’m just a video creator with a rebellious spirit. I can’t stand to do the reasonable things. In fact, I was always railing against the conformity of the AV industry. A contrarian, you could say.

I even have a hard time with the phrase “adaruto bideo”! I’ve spent a lot of time thinking about that phrase. I’ve concluded that good, hardworking people with regular, respectable jobs, take their hard-earned money and buy or rent these videos, because it brings them enjoyment.

But why are all the videos just sex? When I realized this, I became dissatisfied. We should have more freedom.

For example, racial or minstrel videos  (literally, jinshu mondai videos – ‘racial problem videos’!) – those are adult videos too. They can’t be broadcast or shown on TV. And yet, hardworking respectable adults rent those, too. I started thinking about this as well. And can’t we expand the concept of ‘adaruto bideo’ even further?

Let’s  compromise, and stop here for now.

It was while I was considering these things, I received a call from an acquaintance named ‘Junk’ Saito. “Hey, Ryuuji!  I have something I think you need to see!” I went to house in Higashi Kouenji. No sooner had I begun to watch, Junk came out with a camera! What was this guy up to?!? “Oh, I’m up to something all right!”, was all he said.

At any rate, I turned my attention to the screen: an abnormal-looking grandmother came on the set, talking about her sei no henreki (her sexual history).  Then a young AV danyuu came in and began having sex with her. But, as you’d expect, he was unable to get bo-ki.  I mean, she was ancient!  This poruno was a total failure!

Just then, Junk-san paused the video. “As you can see, this danyuu is no good. We need you to take his place: you’re the only one who can do it. That’s why I brought the camera!”

Aha! It all made sense. Recently, the main shortcoming of AV was, a lack of shock value. But Junk’s video looked like it could remedy the situation.

The grandmother/pornstar lived in Mie-ken, so Tokyo satsuei was out. We had to drive roughly 300 KM. And when we arrived, there was nothing there! Mie was so under populated – a ghost town!  So after I had sex with her a little, she said that the neighbors might hear, so could we go to a hotel? Sure! We’ll take a taxi.

At the hotel, she went into the bath-room to take a shower, but she never came out. What should we do? Was she trying to escape? No – she was too old to figure out all the knobs on the modern shower! We explained it to her, and finally she was able to wash.

Now, finally we could be-do iin (get in bed). I gave her a fore-play hug, and I realized: she was an abandoned woman, starving for human warmth, starving for kindness.  She lived by herself and had no one around her to provide ‘skinship’

 That’s why she had turned to AV.  As she revealed her interior self to our camera, our poruno became a great, moving documentary.

And that was one of the first videos of Junk’s new venture: Aroma kikaku (In English, they call it Aroma Planning, but perhaps the meaning could also be conveyed as ‘Aroma Projects’). Aroma was very maniac: so fetish oriented that many videos didn’t even have sex in them!

 A whole video of ‘oshiri appu’ (cameras zooming in on buttholes). 

A beautiful woman reading a trashy horror novel for an hour, and so on.

I thought this was great, naturally. It did have one weak point, though: not a lot of people wanted to buy it. So, instead of paying for studio time, we’d ask around until we found someone who would let us use their house.



THE ‘CHOUJUKUJO ’ SERIES (the ‘super mature lady’ series)

Junk’s own company was in the red, but his notorious videos led to a lot of calls from bigger AV companies looking for fetish kantoku for their own videos! To make ends meet, Junk started working for the competition. So he made less films with me. This got me thinking, “I haven’t kantoku any videos in a while. If Junk doesn’t have time to kantoku his own company’s videos, I should pitch him some of my kikaku (ideas for poruno – and also the name of the company! – ed.)

Initially he had me doing jukujo  (mature woman) and sukatoro videos. But I suggested that we push the genre further, from MILFs to grandmas (from jukujo  to CHO (very) jukujo ). Even a small company like Aroma has a huge risuto (list) of women who are available to do work, and this list includes many older women as well. As you may imagine, many of these risuto women lack common sense, and some of them even wrote “You can satsuei at my house” in their profiles. Naturally, we gave these women priority.




There was one grandma in particular who was really funny. She lived in Keiyo Nagayama so we could show up at the drop of a hat. I couldn’t afford much equipment, so I arrived with just one cameraman – my deshi (apprentice) at the time, Mr.  Sakamoto. She lived alone,  was an ex-hostess, and she was a big fan of Tokyo mayor Ishihara Shintaro.  It seemed her ex-husband was in show-biz, and she raised their children single-handedly. She looked around 55, but she might have been younger, since her hard life had added years to her face. She’d seen Aroma’s “now hiring” flyer in Touspo (a sex-ad-filled tabloid newspaper), and responded.

She served us her home-made cooking, and as we ate, she talked about her daughter. It was quite heart-warming. Once again, an AV had turned into a moving documentary about an elderly person trying to make it on her own!

Older people need to be near a toilet, it can’t be helped. But this woman was peculiar: she couldn’t stand Japanese-style squat toilets, and used a western style crapper, where you’d sit down!  That was unusual, so we went ahead and filmed her doing that , as well.

At last, we began to do the ecchi (‘H’ = hentai = sex) scene, but her dog seemed to think I was her hated ex-husband, and started barking like craaaazy. The cameraman, Sakamoto, turned around to film the dog, and it bit his leg, and started spraying urine everywhere. In the end, the woman could not concentrate because of all the noise, so we had to pay for a love hotel.

But we couldn’t find one in her neighborhood – we wound up driving all the way to Chofu.  We finally found the hotel, and began to shoot the sex, but being old, she said it hurt. On top of that, she began to complain:

“Yamamoto, if you can do it, can you change places with that younger guy (Sakamoto)?”

Apparently, I was too old for her!!

There was no polite way to refuse, so I said, “Hey, Sakamoto, she wants you, so you do her!” But Sakamoto refused, even though he was my deshi: “I have to consider my future prospects. I said I’d help you make these videos, but appearing in them is another matter!” Well, there was no polite way to refuse him either, so I reverted to my usual pushy self and went ahead having sex with her, even though she said it was painful.

Sex with such a struggling old lady is like a contact sport. She kept trying to tap out: “Itai, itai!” (it hurts!). I finished by shooting on her face. She was shocked at this AV custom: “Waa! What the?” Still, the  rapey aspect of it made it much more realistic than a regular AV, where some professional joyuu  moans “Kimochii” unconvincingly.

That video was my kantoku debut for Aroma, as well as the first video in the CHOUJUKUJO series. it was called: daijukujo :  Kame no Ko yori Toshi no Ko (Big GMILF: Older And Wiser)



The next video was sukatoro, and starred the lead actress of the KAO GURO (grotesque face)  video, which had made a pretty big impact when it came out. To capitalize on the success of KAO GURO, we rushed to make a new video with her. Like my others, this would stress the documentary aspect, giving the viewer a glimpse into her everyday life. Since she couldn’t really do engi  (acting) this was important.  But we didn’t want to make a drama! We had a strict  policy of never doing documentary-style videos starring young people, who, after all, have no life experience. If you let them talk, they will just go on and on about some superficial, trashy things.  So we made a strict rule to only use older women.

These older women had a certain aura which came from their entire bodies, an odor of a full life, a vigor which mere engi   could not reproduce.  Therefore I resolved to devote myself to jukujo  videos. The women were almost entirely in their ‘50s and up, and as much as possible I tried to shoot them in their homes – I wanted to show the ‘real people’.

Sakamoto didn’t understand what I was going for, so he was useless. Instead of him, I brought Fatty with me. He had no social skills, and a terrible stutter. He may not have been fit for normal society, but in the AV world, he was able to exhibit his tremendous natural skill for camera-work.

He was like the ‘Rain Man’ of AV production. I’d never met anyone like Fatty before!

He became my best partner, and the jukujo  series soon became our ‘joint production’  – we traveled around Japan together, shooting everywhere. One time, the we stayed at a small inn run by the jukujo  herself! That video was called SHIZUOKA NO EKUSUTASHII JUKUJO NO AI NO HAMAHAME IPPAKU RYUUKOU (The Ecstatic Jukujo  from Shizuoka: the One Night, No Condom Vacation Of Love).  A member of the Aroma staff initially went to Shizuoka to meet with her. Upon his return, he told us, “This lady was made for you, Ryuuji-san!”

Apparently this jukujo  preferred manly men, so after some thought, I decided to wear a tuxedo.

Shizuoka is pretty far, so we’d decided to leave around 5 AM. However, Fatty forgot to re-charge the batteries. He really had no common sense about anything besides AV satsuei. But when we finally arrived, she was very surprised by my tuxedo, just as I’d planned.

“That’s not what I meant by manly!” she exclaimed.

OK, so maybe it wasn’t just as I’d planned.

Then, we headed towards Kakegawa castle, up into the ocha (tea) fields.  In front of the fields, the jukujo  did oshi-ko (peepee) in a teacup, and presented it to me to drink. “You came all the way to Shizuoka for our famous ocha, so I will make you a gift of the o-cha straight from my own body! Please enjoy it!”

Then we did ‘H’ in a corner of the field itself.

After that, we hired one of Shizuoka’s famous rickshaw-men to pull Fatty and the jukujo , who we’d equipped with a remote-controlled Tobikko-brand vibrator in her seiki (junk). From time to time, Fatty would activate the vibrator, but she had to restrain her pleasure so the rickshaw driver wouldn’t notice.

Fatty not only filmed the whole thing single-handedly, while controlling the vibrator at the same time, he even managed to take some footage of the surrounding countryside, to make viewers feel like they were really there. I don’t know what I’d do without him!


Next we went to Mita, famous for its Jinja (Shinto shrine), to film “Mito’s sticky jukujo ”. At a lake next to the Jinja, you could rent a swan-paddle-boat. The plan was for Fatty to ride it, while the jukujo squatted out of sight at his feet and gave him a blowjob. I just told him to take his penis out of his pants, but Fatty’s kind of a character, so he took all of his clothes off, naked in the middle of the lake. Naturally, all the other tourists were staring at us from their own swan-boats! 

After that, just like the title said, it was time to get neba-neba (sticky): sex while covered in nattou (fermented bean curd), another Mita specialty. Naturally, it stunk! Perhaps you’d call me sneaky, but I made Fatty do this scene as well. Lastly, the Mita lake was well-known for its ankou (a species of angler-fish), so we had the jukujo  whip up some fried ankou lungs, chew them up really slowly, and regurgitate them into Fatty’s mouth. We made sure most of it spilled on his face, for maximum impact!




 We wanted to do something a little different for our next jukujo  video, so we made a sakuhin (product, or work of art) called SHISSHIN JUKUJO – ‘the Fainting Granny’. We shot it in Tokyo, and it wound up also being included in SE NI MO KIMYOU NA JUKUJOTACHI (‘the World’s Weirdest MILFs’) shockumentary!

They said that she would get so excited by sex, that when she reached her ze-chou (peak), she’d pass out. But from the start I had my doubts – was this a real disorder, or just her trying to gimmick her way into the film?

So I hired a burly danyuu like Hibiya Tatsurou and told him to give her a really good pounding. Well, she fainted dead away! I was convinced she was for real, but Fatty was more skeptical: he straddled her head and unleashed a powerful  onara (fart)

It was a guddo aidea, as we say. When her face was enveloped by the odor, she revealed that she had not been passed out at all!




We wanted to turn the series up another notch, so we did an inter-racial film: KOKUJIN JUKUJO BOBO AFRIKANA.  In fact, I’d never tried anything like it in my long career! I’d had kyouen (co-stars) who were hakujin (whites) and touyoujin (East Asians) yes, but never kokujin (black people). Why not give it a shot?

But in any case, we didn’t want Whitney Houston-looking beauty, we wanted an indigenous, pure African. The latter film would make more money here, anyway! But Junk wouldn’t pay for us to travel to Africa and hang out with some razoku (literally: naked tribes), so we had to find our joyuu  in Japan, somehow!  Here again, Fatty came through: he used his own intelligence network of fellow perverts and found a likely candidate in Shibuya.

I asked her, “First of all, would you like to get something to eat?”


 “Well, you want to go drink sake?”




It seemed everything was ‘no.’  So just as a joke, I said, “Sekkusu wizu mii?” and she said,


We soon went to a love hotel, and had sex – she didn’t even take a shower. After that- another first: negotiating the price after the sex! I tried communicating in my broken English, and eventually learned that she was working at the Tokyo embassy of a certain African country! 

She then asked, “Why do Japanese men dislike black women?”  I assume she was referring to the fact that you can easily find a black man-Japanese woman couple, but there are almost no Japanese man-black woman couples in Tokyo.  I said, “I have no idea! But for myself, I’m  a black woman lover!”

Incidentally, her aegigoe (sex noises) was like the ritual incantations of a primitive tribe. Finally, I was able to receive the unko from her and eat it. Initially I wondered, “What color is the kokujin’s unko?” but in the end, it was just normal. 

And then, after I ate it, she forced me to kiss her!



It wasn’t until after we’d started making this sakuhin, that I realized that this particular jukujo  was a dangerous person! That’s why we included ‘Forbidden’ in the title!

It all started when she sent us her picture in the mail. We looked at it for a long time, scratching our heads: “She looks like someone, but who?” Fatty said, “She looks exactly like (the famous sumo wrestler) Musashi Maru that’s who!”

Upon realizing this, I decided to make a ‘getemono video’

(an x-rated video made primarily for gross-out purposes rather than to masturbate to. This is one of the most chilling parts of the book, because it means he considers ALL HIS OTHER WORK erotic in the usual sense.- ed.)

 Little did I realize that the reality was far weirder than what I’d imagined doing.

This old lady was deformed. You could tell when she walked. Worried about possible lawsuits or bad press from the handicapped-rights community, I telephoned my boss.

“No problem, Ryuuji. Continue with the satsuei,” he encouraged me.

“Eh? Don’t you think it’s risky?”

“Well, it’s kind of weird, but you came all the way to Osaka, so shoot it! Take precautions, though. First, get her on videotape swearing that her performance is not coerced, that she’s doing it of her own volition. Then  And don’t show her walking, or ask questions about it. If she’s ok with those conditions, we’ll use her.”

I was really glum about this turn of events, but I had no choice. For now, we took her to the Tennouji Zoo to interview her. But her story was a sad one:  She lived alone, and had no boyfriend .She joined a terekura (telephone dating club) to meet men, and kept her deformity hidden this way, until they met in person. And nine out of ten of them ran away when they finally saw her. That’s why she applied to our Help Wanted Poruno advertisement.

I chose not to use this interview, because we might catch a lawsuit for ‘discriminating against the handicapped’ if we showed it. However, I couldn’t avoid filming her walking, so we took her to a place where nobody important would see her – a place full of homeless people.  Actually, this poverty-stricken environment is really close to the famous Osaka Castle. Now it was time for the ‘H’, so we took her under a bridge, where hoboes lived, and found a cardboard box which was vacant at the time. We took our clothes off, and I was in for another surprise: her nipples and seiki (genitals) were pierced, and the piercings were huge. I asked her about it, and apparently an abnormal man she met through the telekura had intimidated her into getting them.

It was clear she had no interest in having or maintaining piercings – she’d not done any ‘after care’, and they were all infected to the point of oozing pus. Just turning the ones in the nipples a little caused pus to gush out. And her labia were even more heavily pierced:  eight on each side. Here the pus had crusted over until it looked like caramel. It was pretty horrendous.

“For now”, I said, “I’ll start by licking it”.

Fatty, a genius of abnormality, chose to film it from far away, so he could catch both the fashionable people having fun on promenade above the bridge, and me having sex with the handicapped woman below : a perfect tableau of heaven and hell. But now it was time to go to the hotel.  

Here again, it turned out that she was starved for physical contact. She grabbed me tightly with great strength, moving her hips rhythmically, and her seiki piercings started to jangle. It was like fucking a reindeer with sleigh bells. Afterwards, I was exhausted.




Another one we did was, SHAKKIN JUKUJO (‘The Milf In Debt’).

 Actually, we did a lot of videos with that theme  These were some of our highest-quality documentaries, and I’m proud of them.

One of these featured a lady whose husband ran an architectural firm, but her spending habits were out of control. And what’s more, she apparently had a fetish for Westernized Asians: in particular, an affair with a Southeast Asian man at her husband’s company led to their divorce. But, even without his support, she could not rein her spending. She borrowed money, and then more money, until she was really in trouble. She’d been uritobasareta (coerced into having sex by debt collectors) several times, and finally she had to do AV to make ends meet. She took us to her falling-apart ghetto apartment, with its old wood walls, and even during satsuei, she would get calls from loan sharks asking for the money. It was enough to make you cry.

Another woman’s case, the loan-shark actually came to her house while we were satsuei! He implied that if she didn’t have any money, she could work off the debt with sex. I said, “Well, we’re shooting a poruno anyway, so help yourself.”

And we shot that as well! 

It was pretty excellent: The loan-shark turned out to be a masochist, and he made the old lady shoben (peepee) on him. He also made her curse him as he drank the shoben: “You fucking oni (demon!)” and so on.




Ever since my pinku eiga  days, I’ve admired homos. Especially the uncompromising homomono (‘real homos’, a play on the Japanese word ‘honmono’, meaning ‘real thing’) And through Aroma, I was able to produce some sakuhin (works, products) about them. It was titled GEI DOORI HITOSUJI: HOMOTACHI NO WA (‘Walking In A Straight Line Down Gay Street: The Chain Of Homos’)

This was in the ‘90s, when it became possible to search for interesting neta (material) on the internet. While looking for neta for GEI DOORI HITOSUJI, I found a lot of funny stuff, but the best was a site called “Totsuka City’s Lewdest Man.”

The  introduction said it all: “I’m a 50-year-old man living in Totsuka. From Monday to Friday, every night from 7 until midnight, I hang out in my house’s genkai (entry-room) and let any guy use me however they want, especially my koumon (asshole). Anyone can come in and violate me!” I decided this fellow sounded excellent, and resolved to contact him.

We set up a meeting, and I went to his house.

I was greeted by a huge older man with a beard.

“Are you the Lewdest Man in Totsuka?” I asked.

“Hai!” he replied in a manly, low voice.

“Your site says that if you suckle from oppai (breasts), you turn into a giant baby. Is that true?”


“Well, let’s give it a shot. Here, take mine!”

He suckled at my man-boobs, and sure enough, he began to whine and cry in a high, baby-like voice: “Aah, waaah! Baby wants moooore!”  After that, we did shikkusu-nain (69), and then I fucked his ass with no condom. Finally, I came on his face.

Suddenly, I calmed down. What have I done? Overcome with shame, I retreated and quickly went home.



There’s an interesting story about how we progressed from the OMEKASU  (‘Female smegma’) series to the KUSAIIII SUKI! (‘I love stench!’) series. It all has to do with my constant desire to try new things.

The five volumes of KUSAIIII SUKI! are more well-known, but in fact they were modeled on my earlier work with OMEKASU.

The OMEKASU series  explored the issue of “How can I express my love of women, using my own personal philosophy?” 

And to explain my philosophy, I’ll have to digress into a bit of a ‘private’ story, so please bear with me. When I was in high school, I took my then-girlfriend to a yakisoba place which she liked (these restaurants have a hot metal stove built into the counter so the cook can cook the soba right in front of you – ed.) But after a short while, she turned very pale and then suddenly projectile-vomited . . . directly onto the surface of the stove! 

It was the most embarrassing possible situation. Everyone – the cook and other patrons – was staring at us, and my girlfriend looked like she might die of shame. Hoping to express my love by distracting her from her shame, I tried to make a joke out of it: “Hey, that’s not what I ordered! But since you finished cooking it, I guess I’ll . . .” and then I ate her gero (vomit).

But she didn’t understand I was just doing it to prove my love – how many guys would do that for their girl? – and she didn’t see me again.

There was another such incident a while later, but while I was still in my teens. I was taking the last train home from the disco, which was fashionable at the time. My (new) girlfriend, who was still young and didn’t know how to drink responsibly, had had too many sake-and-cokes, and suddenly, in the middle of the very crowded train, realized she had to haku (puke). “What am I gonna do?” she said. “It can’t be helped – haku in my sleeve. It’s gross, but it’s better than spewing gero on everyone else.”

Of course the people around us noticed her puking into my sleeve, but they felt sorry for us, and told me, “You’re a good guy!”  Then she had to haku into my other sleeve. Naturally, both sleeves were covered in gero. But once again, the girl didn’t understand the way I showed her my devotion, and I never heard from her again, either.

Why didn’t they get it? I worried that, despite the best of intentions, did I go to far? Did I seem hentai to them? Or were they simply too young to understand?  As I grew into an adult, I continued to ask myself these questions. They obsessed me. How can I formulate a philosophy which explains the way I express my love for women? And how can I do it in AV form?

I can’t say it’s a good way to express these feelings, but when men talk to each other about their girlfriends, they often ask, “Have you eaten her pussy yet?” This gave me a hint for my new AV: why not do a REAL ‘Woman-eater’ video? This made me remember the case of Issei Sagawa, the infamous Japanese cannibal/murderer.

And that’s when real inspiration struck: what if there was a way to – legally – devour parts of a woman from her head to her toes? There had to be a way.

Well, let’s start with her fuke (dandruff – pronounced FOO-kay)!  If she hadn’t showered in a long time, I’m sure she’d accumulate enough fuke to show up on camera.  I could collect it in a pile and eat it. Better yet, snort it through a straw like cocaine! Talk about your ‘legal drugs!’  Then I’d move on to her  meyani (eye crust), hanakuso (boogers , literally, ‘eye snot’), mimikuso (earwax),  hakuso (plaque) and so forth.

Then she’d scrub the aka (grime) off her body. I’d clean the aka off the brush, roll it into a little ball and eat that, too.

And of course, I’d have to repeat the incident of my high-school years by devouring her gero.

If the joyuu  could notify us in time, we could satsuei while she’s seiri (menstruating):  we didn’t just do bloody cunnilingus, we put on a real show. Wait until her tampon is full to bursting with blood , then take it and then make tea out if it, all dunking the ‘tea-bag’ western-style! After all, that kind of tea is called koucha (literally: red tea), isn’t it? 

The joyuu  actually started crying, she was so moved that we’d go to all this trouble to pay tribute to her seiri.

And that is how we began our OMEKASU series of sakuhin. Of course, I needed a joyuu  who I really loved.  I’m not such a fetishist that I drink seiri, gero, or unko for its own sake!  “Your body is so special and precious to me, that I’ll eat anything it produces!” kind of thing.  It’s my way of sending a message of love – albeit a very high-pressure sales pitch!

But, there are other people who share my philosophy. Certain women, who love a man so much they will eat even his kusai (stinky) parts. And other women who love to eat men’s filth, no matter who the man is. And that’s how the OMEKASU series evolved into the KUSAIIII SUKI! series!

Kuramoto Anna (now known as just Anna) was one such woman. I told her, “A lot of men will surround you, taking off their kusai socks and, one after another, presenting them to you. Give them all a good sniffing, lick the socks, and start saying things like: “Kusaai!! But it’s a stench that turns me on!” and start doing onanii (onanism). Then the men will all tsuba (spit) and gero (puke) on you while you do more onanii. How’s that sound?”


And that scenario became the first episode of the KUSAIIII SUKI! series. Which is still on sale, by the way.

Due to its success, we were under pressure to film a sequel quickly, but it was extraordinarily difficult to find another joyuu . In fact, we could not shoot on any kind of regular schedule. We had to wait until we discovered a young lady who would do it, and then we’d jump into action, with five cameras. We needed five to make sure the ‘gero shot’ was captured perfectly from many angles.

We did another video, where we went with homeless guys for all the danyuu. The joyuu  would look at all these homeless men and do onanii. They really smelled up the whole studio! The series sold well, but we received a complaint: One of the men who did the tsuba and gero said it made him sick to do it. So we decided, for the next video, we’d do bukkake, but with a twist: six women doing bukkake on a man! But who would volunteer to be the man? I couldn’t do it because I was kantoku (directing), and we couldn’t afford to hire someone – it would have to be a real maniac – a shirudanyuu  – who would do it just for the thrill.

We found our guy, and started satsuei : the women took a pair of panty-hose which they’d worn for three days straight, and shoved it up his nose, and then pulled it out his mouth, while the women covered his face in their tsuba. Then finally, they covered him in their gero and unko. He was in an almost religious ecstatic state.  This was our most expensive video so far – since we had to hire more than one joyuu  and used high-quality lighting. So in the end, we couldn’t afford to do any more in that series.

By the way, no one was coerced into performing – they all performed willingly, not once flinching away from the horrible action. They all have these kinds of fetishes, so they participated with relish. Nobody was forced. From the outside, you can look at it and say, “These people are very abnormal,” but in the end, it’s just people having fun doing what they want to do, so what’s the harm?

I think that’s an important point.

In fact, after the satsuei was over, the shirudanyuu took a vinyl bag and was picking up the extra gero and unko to take home with him – like when a high school baseball team has an away-game, they take home some sand from the opposing team’s field as a souvenir.  And if you watch the video closely, you can see he’s eating the gero and unko as well – he’s really a pervert to his very core.

 And as our assistants were cleaning up the rest of the filth with their gloves, Fatty admonished them: “That’s rude to the ladies. We told them we are making this video because we’re real hentai! You have to use your bare hands to pick it up.” 

I was gratified that his hentai damashi (spirits) are developing so rapidly.

I was fortunate to be able to kantoku many videos for Aroma, but my ideas were getting more and more difficult, expensive, and complex to produce. And I didn’t want to kantoku other peoples’ projects – this was not just a day-job for me. As a result, I was getting less and less work from them, but one has to be true to one’s self.



After I got famous for being a cult AV danyuu, I finally won the “Best Shuen AV Danyuu” prize at the AV Daishou (AV awards), held at Tokyo’s prestigious Sports Hall.

The AV Daishou was an awards ceremony started as a joke by Houno Takeshi, as a parody of an ippanna (mainstream) show-business award ceremony which he also hosted. (?!?-ed.)

Takeshi-san had apparently recommended that I win an award, but pretty much every AV danyuu got one. The first year, Katou Taka won the prize. I won the second year, and I think Chocoball Mukai won the third. After that, Takeshi had run out of friends to give prizes to, and stopped producing it. But apparently the Tokyo Sports Hall managers thought it was good business, because they kept on producing it themselves!  They even called in Japanese AV stars from overseas, like  Shirotama Dan who won the fourth year.

After that, the AV Daishou became even more of an outright comedy event, awarding a Kappa the prize in the fifth year. Kappa was a comedian in a Kappa costume! Who was inside the costume? No one knows!

By this time, Takeshi had set his sights even higher: he got Yomiuri Corp. to produce a late-late night bangumi (show) on Nihon TV: SHINBASHI MUSIC HALL. Most of the people who appeared on Shinbashi Music Hall were AV danyuu!

Whenever I was on, I would talk as much shit as possible, which Takeshi thought was funny. I’m grateful to Takeshi for understanding how I think and my process as an AV danyuu. He helped me transmit my message to all AV users: “I, too, can be like Yamamoto Ryuuji and have sex with beautiful women!”

I’d also like to thank him for recommending that I get the AV danyuu prize. But truthfully, at the time I won, I was already 43 years old, and my sexual power was already waning.  I wouldn’t say I was thinking of retiring, but more like I was a little tired of doing only AV danyuu stuff. Luckily, I had started to get more work kantoku (directing ) my own videos.

And now that I had won my danyuu prize, I could leave that business on a high note.

Next week: conclusion of the book.


3 Comments so far

  1. Mark April 2nd, 2011 10:39 pm

    This translation is a good example of why I keep coming back to this site – I learn something new about Japan every time.  While the fetish parts of this narrative are not that weird to anyone who has hung out on the internet for more than a few weeks (you see worse stuff on 4chan regularly), the business and social side of the porn industry described here is fascinating.
    I think my favorite bit is the group of shopping mall businessmen getting into porn because they need an alternate source of income and the hijinks that ensue.  This really sounds like the plot of some wacky comedy – someone needs to make the story into a film.
    I also found it interesting that Yamamoto often describes himself as being motivated by loyalty and obligation to others to do the things he does.  You often see these traits mentioned in academic works as being central to Japanese culture, but I didn't think the obligations extended as far as eating poop and having sex with chickens.  I wonder if he is just using that as a convenient justification for his behavior, and that deep down he actually liked doing this stuff.

  2. correba April 7th, 2011 7:32 am

    Awesome translation and an interesting read.

  3. Carl December 1st, 2012 1:53 pm

    I'm living and working in Japan. I'm very much into Japanese fetish body fluid AV materials; especially women gero.  I have even started to produce my own amateur gero girl material. Do you still maintain any contact with the AV world? I wanted to bounce a few ideas off of you.  Thank You!

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