【制作ノート】くびれ自慢バニーさんについての雑感 (Pixiv Fanbox)

（※The English version of her lines is below.）

「くびれ自慢バニーさん」こと、菅野ミオリ(30)。

彼女のイラストやエピソードを描くとき、どうしても避けられないテーマがあります。

それは、

「彼女の身体には“複数の男たちの履歴”が積み重なっている」

という、ごく当たり前の事実です。

当然ながら、彼女は処女ではありませんし、清廉潔白な深窓の令嬢でもありません。

彼女には明確な「過去」があります。 作中でも触れている、かつてのマネージャー（元カレ）との関係。

そして、その彼に見守られ（視姦され）ながらマジックミラー号で男優と交わった、思い出すたびに悶絶するような黒歴史。

現代に生きる多くの女性がそうであるように、彼女もまた、過去に複数の男性との関係を重ねてきているはずです。

彼女が鏡で自分の胸の揺れや形を見る時、そこには過去の男たちの記憶が残っています。

例えば、作中で描かれる乳房のカタチ、そして指が沈むような柔らかさ。

それは、幾人もの男たちが彼女を愛し、あるいは欲情し、その胸を揉みしだき、形を変えるほどに愛撫した結果です。

「あの男はここを乱暴に掴むのが好きだった」

「あの彼氏の触り方は、壊れ物を扱うようだった」

「撮影の時は、何人もの男優の手で揉みくちゃにされた」

グラビアモデル時代よりも豊満になり、熟した彼女の身体は、そうした複数の男たちとの関係の中で、その「カタチ」を作られてきたのだと思います。

そして、「感度」の蓄積。

彼女は客の視線だけで刺激を感じ、脚をこすり合わせるような最小の動きで密かに絶頂するという特技を持っています。

けどその感度を開いたのは彼女自身ではなく、彼女を通過していった男たちです。

彼女がどこを、どう触られれば感じるのか、どんなリズムで果てるのか。

その「取扱説明書」を書いたのは他人であり、彼女の身体は隅々まで「開発」され尽くしているのです。

そんな彼女は現在、そのアーカイブ化された身体を、「裏バニー」としてさらに不特定多数の視線に晒す仕事を選んでいます。

裏バニーの世界。

そこは、本来なら本人か恋人同士でしか共有されない秘められた部分――裸の肌だけでなく、羞恥に染まる表情や、快楽に歪む感情――を、公共の場で披露することが求められる場所です。

そんな世界と、彼女の存在は奇妙なほどに親和します。

過去に特定の男たちに植え付けられたその重たい痕跡を、いまは名前も知らない客たちの「軽い視線」と「欲望」の中に投げ出し、消費される。

彼女がカウンターでふと見せる仕草。

唇を噛む癖。

ハイレグの食い込みに感じる興奮。

これらすべてに過去の誰かの痕跡が存在します。

そして彼女は裏バニー倶楽部のホールに立ち、不特定多数の視線に晒されることによって満たされる、ある種の充足の中にいます。

その無慈悲なほどの「公共性」に身を浸すことで、彼女は自身の業を昇華させているのかもしれません。

もちろん、そのすべての「正解」は、30歳の「くびれ自慢バニーさん」本人だけが知っています。

彼女の身体に刻まれた濃厚な履歴（ログ）と、自ら進んで共有されることを選んだ彼女の密やかな愉悦。

本編を通して、それらを見守っていただければ幸いです。

[Production Note] Musings on the "Queen of Curves" Bunny

Miori Kanno (30), a.k.a. the "Queen of Curves" Bunny. When depicting her episodes, there is a theme that is unavoidable.

That is the perfectly ordinary fact that "the 'histories' of multiple men are accumulated within her body."

Naturally, she is not a virgin, nor is she a squeaky-clean, sheltered young lady of high breeding.

She has a distinct "past." There is the relationship with her former manager (her ex-boyfriend) touched upon in the story. And then, the dark history of having sex with a male actor inside a magic mirror truck while watched over by him—a memory that makes her writhe in agony every time she recalls it.

Just as with many women living in the modern age, she, too, has piled up relationships with multiple men in her past. When she looks at the sway and shape of her breasts in the mirror, the memories of past men remain there.

Take, for example, the shape of her breasts described in the story, and that softness into which fingers sink. That is the result of several men loving her, or lusting after her, kneading those breasts, and caressing them enough to change their very shape.

"That guy liked to grab me roughly right here." "That boyfriend touched me as if handling something fragile." "During the shoot, I was groped all over by the hands of several actors."

Her body, now more voluptuous and ripe than in her gravure modeling days, has had its "shape" crafted within those relationships with multiple men.

And then, the accumulation of "sensitivity." She possesses a special skill: feeling stimulation just from a customer's gaze and secretly reaching climax with minimal movements, like rubbing her legs together. But it was not she herself who unlocked that sensitivity. It was the men who passed through her life.

Where and how she needs to be touched to feel pleasure, what rhythm makes her finish. The "instruction manual" for these things was written by others, and every inch of her body has been thoroughly "developed."

Such is the woman who has now chosen a job as a "Backroom Bunny," exposing that archived body to the gazes of an even more unspecified large number of people.

The world of the Backroom Bunny. It is a place where one is required to display in a public setting those hidden parts—not just naked skin, but expressions dyed in shame and emotions distorted by pleasure—that would normally only be shared with oneself or a lover.

Her existence has a strangely high affinity with such a world.

She takes those heavy traces implanted by specific men in the past and throws them into the "light gazes" and "desires" of customers whose names she doesn't even know, allowing herself to be consumed.

The gestures she inadvertently shows at the counter. Her habit of biting her lip. The arousal she feels from the high-leg dig.

Traces of someone from her past exist in all of these. And currently, she finds herself in a kind of fulfillment satisfied by being exposed to the gazes of the masses. By immersing herself in that merciless "publicity," perhaps she is sublimating her own karma.

Of course, the "correct answer" to all of this is known only to the 30-year-old "Queen of Curves" Bunny herself. The rich history (log) carved into her body, and the secret ecstasy of choosing to be shared of her own volition. I hope you will watch over these things throughout the main story.