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In Connection With This Post: The Vagina as the Second Face .02 https://hustin.art/the-vagina-as-the-second-face-02

When you observe the pussy closely, it almost seems to speak. Interestingly, the folds surrounding the pussy are called the labia—a Latin word meaning “lips,” derived from the same morphological origin as the lips of the face. This linguistic–morphological lineage already suggests why the pussy can function as a second face. The structural and functional isomorphism between labia and lips is unmistakable.

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In Connection With This Post: Yuzu Ogura https://hustin.art/yuzu-ogura

Yuzu Ogura presents a highly unrealistic figure in terms of bodily proportions. Her limbs are slender, giving her an overall girlish silhouette, but her breasts are exceptionally large, creating a somewhat deformed shape that evokes a cartoon character, making her attractive. …

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In Connection With This Post: The Vagina as the Second Face .01 https://hustin.art/the-vagina-as-the-second-face-01

In the AV·BJ scene, for adult performers who reveal their vaginas, the vagina emerges as a self-possessed subject rather than an object. They render their vaginas as publicly legible as their faces. Within this world, the vagina appears as routinely as a face—it is the performer herself enacting a public claim to vaginal subjectivity.

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In Connection With This Post: Shoko Takahashi https://hustin.art/shoko-takahashi

Shoko Takahashi is not simply someone who “really, really wanted to do AV.” After her private sex tape was leaked and she came under intense pressure to be blacklisted from the entertainment industry, she chose to debut in AV—half willingly, half unwillingly. Debuting under the Muteki label itself symbolizes the fall-from-grace performance of an exiled angel—a kind of head-on breakthrough strategy. …

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In Connection With This Post: Akiho Yoshizawa .01 https://hustin.art/akiho-yoshizawa-01

In the early 2000s, the AV industry was still dominated by the “cute and innocent girl” idol-like image that had prevailed throughout the 1990s. There were few leading actresses with elegant, urban, and mature beauty. Akiho Yoshizawa’s uniqueness was a product of that era. …

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Throughout human history, the vagina has existed primarily as a fetishized object—something to be looked at, reified, objectified, or even despised. Across two dominant structures—the traditional regime of objectification under the male gaze and the biological reduction of women to reproductive function—the vagina has been confined within the boundaries of objecthood. Laura Mulvey’s male gaze theory, which presupposes the formula “man (viewer) = subject, woman (screen) = object,” was the archetype of this arrangement. But in the AV·BJ scene of the 2020s, this structure undergoes a striking inversion. The vagina is no longer merely objectified; it becomes a subject.

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In the Japanese AV industry, it is fairly common for mainstream idols to transition into adult video work, and Kokona Nakamori (also known as Shinna) also follows this path, having been a child actor and later a member of an underground idol group. She possesses a wealth of vivid charm in her expressions, eyes, and speech. Her ever-innocently playful, slightly provocative smile fits the typical Imouto Type and Beloved Type appearance. Yet, her unique facial structure sets her apart. She has a cute, rounded face with soft cheeks, a wide mid-face, and eyes that are set far apart — a distinctly outer-spread, seemingly turtle-like or piscine (魚顔) appearance.

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In Connection With This Post: Eren Sora .01 https://hustin.art/eren-sora-01

One of the central sociological roles of a pornographic actress is to directly enact the viewer’s most forbidden desires while confirming the pleasure of that act through her cheerful smile. Unlike scenes involving the pussy, the face cumshot scene is one in which the actress does not experience genuine sexual pleasure. As such, it imposes significant professional and physical demands on her. Yet, driven by the expectations of the audience and the responsibilities of her role as an AV actress, she is required to perform a reaction of “pleasantness” after ejaculation.

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In Japanese AV, the face cumshot scene has become a widely popular and conventional trope. This scene goes beyond mere visual stimulation, tapping into the viewer’s latent codes of taboo and desire. After watching numerous AVs, the audience may feel that the urge to ejaculate on a performer’s face is universal across actresses. Yet in reality, a deeper, more obsessive desire is often directed at specific performers—such as Eren Sora (or Eriko Sora).

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Minori Hatsune, at the time of her debut, emerged as a performer with a distinctly Japanese look—rounded, cheerful facial features paired with large breasts, a classic combination. The AV industry in the late 2000s had not yet been saturated with celebrity-level visuals as it is now, and slightly awkward appearances were still common. She wasn’t a stunning beauty, and yet with her relatively neat and pleasant face, she gained considerable popularity.

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