Minori Hatsune
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Minori Hatsune, at the time of her debut, emerged as an 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. Although she wasn’t a stunning beauty, and yet with her relatively neat and pleasant face, she gained considerable popularity.
Rikka Inui possessed a unique charm composed of a familiar “girl-next-door” facial structure, distinctive smiling eyes with small eyelids, and somewhat prominent cheekbones. Most notably, she must be recognized for her unusually slender and elongated physique—a strikingly anomalous body type that explains her fitting model background. Unlike typical East Asian, she exhibits a small head and an almost supermodel-like 8-heads-tall body ratio, standing 170cm tall.
Rui Hizuki may appear to be just another typical, cute, fresh idol type at first glance. However, in certain camera angles, a subtle aura of seriousness emerges. Her characteristic shyness, reserved demeanor, calmness, modesty, neatness, serenity, intellect, grace, dignity, and maturity are clearly revealed in the first interview clip of her debut (SNIS-664). These traits are not limited to her appearance alone but are also expressed in her tone of voice, speech patterns, and gestures. She had long admired the AV world. Though from a general perspective this may seem incomprehensible—she approaches AV with a sense of professional mission, personal sexual exploration, and a cultural vision. There's a tender gleam in her eyes as she looks into the camera—an innocent anticipation mingled with a dreamlike longing for the AV world she has yearned to enter.
Aoi Ibuki had undergone no cosmetic surgery whatsoever at the time of her debut. Notably, the natural aesthetic structure of her body was exceptional. Her sharply cinched waist curved fluidly into hips that swelled with elastic fullness, drawing a perfect S-line rarely seen in other AV performers. Her firm thighs and taut gluteal muscles hinted at the athletic beauty of a former school cheerleader. And above all, what seized the gaze was her magnificent, voluminous breasts—plump and luscious like soft marshmallows, their snow-white surface topped with small, cherry-like areolas set with perfect precision.
Kurumi Hinagata is an performer who delivers a striking visual shock by contrasting her cute, down-to-earth countryside-girl face with her overwhelmingly massive I-cup breasts that jut forward prominently like two giant watermelons. Her physical imbalance, asymmetry, and exaggerated, grotesque body form are the very identity of her product. The most memorable shot that clearly reveals her presence is the rhythmic up-and-down movement of her huge boobs during cowgirl—tits falling violently with gravity and being captured majestically on camera, in a wide-angle close-up. It’s a moment that visually persuades the viewer of the “physical weight of massive breasts.”
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. Her image, which suited TV frames with its sophisticated and metropolitan appearance, filled a visual void in AV at the time. She was one of the rare examples who transplanted the composed announcer archetype—with neat features, urban elegance, cold dignity, and controlled expressions—into the AV world. In retrospect, her looks no longer seem so exceptional only because many similar “urban beauty” performers have emerged since.
Rena Miyashita features a neat and tidy, slightly aloof appearance, with large eyes and ponytails. Her figure is slender, with moderately full breasts that create a softly contoured, natural balance—appealing. Interestingly, rather than in comprehensive AV genres, she particularly stood out in solo-nude videos, where her latent potential was most evident in the early stages. She is one of those rare performers who radiated through a ‘passive and static eroticism’—a nudity-centered art form rooted in the gaze.
Haruka Kasumi appeared as if she were “untouched nature itself.” She debuted in AV with a raw, unfiltered presence that delivered a remarkably fresh shock. She embodied the innocent beauty of a rustic countryside girl or a real-life college student from the neighborhood—no signs of plastic surgery, natural facial features, minimal makeup, an untrimmed physique, with healthy natural curves, full hips and thighs, soft and plump breasts, unpretentious facial expressions, and clumsy gestures.
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.
Shoko Takahashi is not simply someone who “really, really wanted to do AV.” After a private sex tape was leaked and she came under intense pressure to be blacklisted from the entertainment industry, she reluctantly chose to debut in AV. Debuting under the Muteki label itself symbolizes the fall-from-grace performance of an exiled angel—a kind of head-on breakthrough strategy.