乳狂い
Chichi Gurui
Matsugane Yôko appears to be taking a much more active interest in her DVDs if the twin releases Chichi Gurui and Chichi Mamire are any indication: she is the producer for both discs and obviously business savvy enough to realize that it would foolish to fight the current trends in idol DVDs, so she has continued her to push the envelope further with each release: raunch, apparently, sells, and both discs are fully committed to showing you as much of Yōko as possible without actually showing viewers the goodies. You even get some very obvious shots of Yōko's areola in the making of section.
The problem, however, is the same one many of Yōko's releases have had in the past: repetition. Huge parts of both disc have been seen before in her releases since Body Scandal – the same shots, the same themes, the same imagery, the same music. That's not to say there isn't anything new or worth watching on Chichi Gurui, but the sense of deja vu or ennui which creeps in if you've followed Yōko's DVDs is unmistakable.
Both releases have a separate theme running though them: Chichi Mamire has Yōko as the aggressor, the in-control woman. In contrast, Chichi Gurui presents her as very submissive and passive. As such, many of the scenes involve first person camera work where Yōko is, uh, forcibly groped and such. This is not as creepy as it sounds in execution, so all is well on that front. There are ten glamour tracks on the disc: three of them have bondage as a theme, four of them have her “coerced” or fondled in first person. Of the remaining three, two of them are more traditional glamour tracks, but the other one has a simulated handjob and tit fuck. So... yeah. More raunchy.
Starting off in a darkened room, we find our Goddess of the Gigantic Breasts lying on a bed, blindfolded and bound at the hands wearing black lingerie which looks seriously tiny on her big boobs. In POV mode, the camera proceeds to tickle her body with a feather as she writhes on the bed. This continues for a few minutes, then the tracks turns into a more traditional gravure scene, as Yōko puts on a really sexy performance, slowly stripping off her outer layer of lingerie and vamping for the camera. The next scene has Yōko as an office lady wearing a button down shirt which is about two sizes too small, a skirt which can only be described as obscenely short, and glasses. Sexiest. Yōko. Ever. In any case, the premise here is that Yōko is felt up by a coworker. So much for non-harassment policies in the office. The prodding of Yōko's spectacular body is all done with rulers and, as is the Japanese standard, starts of feigning being upset, but that turns to enjoyment as the scene goes on. She eventually is stripped down to an incredibly small bra – there is one shot where is almost seems as if she is really going to pop out of the thing. This is probably some of the most erotic imagery ever captured on video.
The first two tracks highlight some of the problems of the disc. The glamour portion of the disc runs at about 75 minutes. With only ten scenes, this causes some of the scenes to run too long (the longest being around the twelve minute mark) leading to a lot of repetition in Yōko's performance. Related to that problem is the music tracks are often too short, so it they will run two or three in succession for the same scene. This is not a deal breaker, but is a little distracting as the pacing of the songs do not always match the pacing of the scene.
The next two tracks are actually one long scene. It starts off with Yōko as a kind of go-go dancer. She bounces around a darkened room wearing a silver, sparkly bikini. Although she does move in time to the music and gyrate her hips, the obvious focus of the scene are her wonderfully huge, jiggling, bouncing breasts – there is a section which just focuses just on the twins moving which lasts around 30 seconds. The timing was well done, so this doesn't go on so long as to become monotonous. Once the dance is over, Yōko heads back to the dressing room to get changed. Apparently she has attracted the unwelcome attention of an over-zealous fan, who follows her back and watches her get changed into a yellow dress through a crack in the door. As she heads to the toilet, the fan rushes in and slams open the stall door, revealing a startled Yōko sitting on the toilet, dress still on, toilet cover down. The rest of the scene actually came across as very creepy because there was no real background music, just the sounds of Yōko moving around on the toilet. The “assailant” grabs her very long necklace from off camera and holds it like a dog leash as Yōko feigns embarrassment. Due to the very limited space in the stall, the camera was pretty much limited to one shot – at the stall's entrance. Yōko moved around as much as she could, but usually ended up with the camera shooting upwards with her legs spread. The lighting also seemed a little dim here, and all the colours would up being very dull. All-in-all, this one was a miss.
Poor Yōko has to deal with more unwanted amorous advances in the next couple of scenes as well: first off, she is apparently working in a maid cafe of some kind. A very expensive maid cafe from the size of the place. Her maid uniform is appropriately brief in all the right places, displaying extremely impressive cleavage, a skirt which is cut open at the front and fishnets. Her stalker basically makes her suck on a phallic shaped suckers – yes, it's the all too frequently used pseudo-fellatio scene. Yōko looks spectacular, but I've seen this one too many times for it to be interesting anymore. Following that, we have Yōko as a nurse – the camera appears to be taking the role of a doctor who is going through her locker, looking for her bra. She catches him, asks him that the hell he's doing, then the tables are turned. The next thing you know, he's trying to get her to suck on a thermometer, while she's insisting that she's not sick. Asking him to stop, he proceeds to use his stethoscope to prod around her boobs and lift up the bottom of her uniform. After a few minutes of this, the scene switches to a glamour portion, where Yōko slowly removes her uniform while using the stethoscope and thermometer to gently poke and and prod her body, mostly around the chest and ass. A sexy, if somewhat generic, ending.
Moving away from manhandling Yōko to tying her up, we're back to the bondage theme. She's strapped into some kind chair, bound at the wrists and ankles my manacles. She struggles to break loose, but it's fruitless. The first half of the scene consists of an off-screen staffer rubbing a glowing red light stick over Yōko's body. This is a waste... the lighting was way too dark to really see anything – you never even get to clearly see Yōko at all aside from disjointed close ups which are hampered by highly contrasting light and shadows. The second half isn't much better – our phallic symbol has changed to an ice cream bar, but the basic idea remains – run the bar over her body, but this time it gets wet and sticky. Eventually, she's made to lick and suck one of the bars, while another one runs along her chest. Same lighting problems, same bad camera work. Could have been quite erotic, but the director blew it. The next scene contains the aforementioned pseudo-handjob. Taking place in a large bathtub. It starts off as a sexy but straight forward scene with Yōko wearing a far too small one-piece bathing suit which beautifully squishes her tits out. She pours KY jelly over herself and rubs it all over. Then, she turns toward the camera, reaches out and begins rubbing or stroking... something. This is pretty unmistakable. Once her virtual handjob is finished, she pulls down the straps of her bathing suit and then proceeds to tit fuck the shower head. Ahem.
The next track starts off somewhat like the first: Yōko is tied up and handcuffed on a bed wearing some black lingerie. Despite the impressive amount of flesh on display here, this is probably the most boring scene on the disc – the slow, deliberate pacing doesn't really seem to serve any purpose and the camera work is just plain dull: very slow pans across Yōko's body are neither sexy or titillating – due to how close the camera gets to her skin, the images on screen are often just a random set of shapes. The final scene also doubles as the closing credits, and opens on the very striking image of Yōko clad in some white lingerie (bra, panties and garter belt at the bottom of a long set of red stairs, leading up to a tall chair. Yōko slinks up the stairs to chair and proceeds to do a stripper like dance routine on the chair – very hot. At one point, she hooks her bra straps around the chair's back and the twins are almost revealed. Although the camera work here is quite good and provides lots of breathtaking looks at Yōko, the lighting becomes a problem shortly after the beginning of the track: the lighting is very harsh, which creates some very prominent shadows, occasionally making things hard to see. Half the imagery here is great, the other half is problematic due to shadows obscuring the scene.
The lengthy behind-the-scenes track is pretty run-of-the-mill – Yōko chats with the camera and crew (there's actually a pretty funny scene where she tries to burst the buttons on her shirt) intercut with photo shoots. What may interest the more pervy viewers is the definite appearance of Yōko's areola in the track - unlike past false sightings, these are definitely the real deal. Don't get too excited though... its not like she's topless or anything, just the dark skin of her areola peeking over the top of her bra.
One other problem with the disc doesn't seem to have been mastered that well, and there are noticable compression artifacts on many of the tracks – with beauty like hers on screen, you want the images as sharp as possible. Nevertheless, Chichi Gurui is quite a good DVD overall – as a piece of erotica, it more than fulfils its purpose and most Yōko fans will be thrilled with it. It could have been better with a little more judicious editing and trimming the time, but there are worse ways to spend 90 minutes watching a goddless like Yōko strut her stuff.
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