Tenma Yui Feature | If You Won't See Me, See Me in AV
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天馬ゆい
- Debut Year
- 2021
- Total Works
- 875+
Tenma Yui lists her hobbies in two different places.
On her FANZA profile, they are: gaming, anime, films and theater, squirting. On her agency Crone’s official website, they are: gaming, anime, films, and cooking. The first three match. Only the fourth changes. One has squirting, the other has cooking.
There’s a third place. Industry media profiles don’t have a hobbies section; instead, they list her special skills as “theater, squirting.” When the category shifts from hobbies to skills, squirting stays but cooking disappears.
Unlike height or measurements, the hobbies section is filled in by the person herself. So the fact that she’s written them differently across platforms says something about her. Before deciding which one is the lie, it’s better to first see where each comes from.
On June 10, 2021, her debut work was released. Walking toward the camera down a cherry tree-lined path, wearing a white blouse and camel-colored skirt. A small bag slung over her shoulder. White text appears: “YUI TENMA AVDebut.” Her hair is black, cut in a short bob, bangs falling across her eyebrows. Born February 14, 1998, 162 cm tall. What the image conveys is little beyond the length of her bangs and the smallness of her bag.
Five years have passed. She now counts 875 works individually distributed on FANZA. She has no exclusive contract anywhere. An actress called to sets without wearing any studio’s name.
Her X profile reads: “Going all the way to heaven♥ It’s Tenma Yui.” It also says, “I’d like you to call me Ten-chan.” A green heart emoji, the words anime and gaming side by side, and the names of her alt accounts listed. 132,000 followers, 6,003 posts.
Her Instagram is a completely different tone. The bio is only three lines.
Yui Tenma krone affiliation / Adult actress
No “Ten-chan,” no “going all the way to heaven.” Just affiliation and title. An account watched by 93,000 people holds only 33 posts. She didn’t gather these followers through volume, nor does she maintain the same voice.
Here too, she’s writing differently depending on the place.
In an interview a year and a half after debut, Tenma Yui puts her own name in quotation marks when speaking about herself. The professional “Tenma Yui” and the private “me.” A person doing both in the same body insists these two are completely separate. That’s why squirting appears in only one of the profiles.
But her story doesn’t end with the profiles. Why would someone who couldn’t attend school say that work is where she thrives? That comes first.
”I Couldn’t Say No”
On December 6, 2022, Tenma Yui, one and a half years into her career, was interviewed by an industry media outlet. The preamble that ran with it reveals how she was perceived at the time.
Finesse-skinned, stunningly beautiful, and a talented working actress — Tenma Yui has earned widespread popularity. Beyond AV, she has shown her talents in special effects films, playing villain roles. Between her busy schedule, she spoke in detail about her school years, during which she didn’t attend, how she entered the AV industry, and her views on romance — a rare and valuable interview.
(XCITY Interview Part 1, December 6, 2022)
“Between her busy schedule” — that’s how it’s phrased. That year alone, she released 87 works. Called for an interview in the midst of it all, the first thing that came up was school.
Tenma Yui talks about her school days with a laugh.
“During my school years, I was super introverted and didn’t go to school. Probably from around elementary school, I just couldn’t make it to school here and there.”
She says “here and there.” Days when she could go and days when she couldn’t came and went, alternating since elementary school.
When asked what triggered it, she starts with kindergarten.
“The trigger was partly my personality, and then in kindergarten I had something like light bullying happen to me. After that, I couldn’t fit in — I’m the type who worries about what people think of me, you know? Like, ‘This is exhausting!’ I’d wonder what people think of me, what everyone’s thinking, and I’d have to be careful not to hurt anyone, I’d have to watch what I say… All that thinking just made human relationships so draining. I got tired of worrying, and eventually I’d go to school some days and not others — practically truant (laughs). Even when I was having fun, it was so tiring. That was the most exhausting thing of all!” (laughs)
The order matters: even when she was having fun, it was draining. The reason she didn’t go wasn’t about the activities themselves — it was the exhaustion of being around people.
What do people think of me? What is everyone thinking? I have to be careful not to hurt anyone. I have to watch what I say. All of these are tasks centered on the other person. There’s not one thing coming from what she actually felt. Sustain that for a full day, and even a fun day ends with fatigue winning out.
A story comes up about becoming friends with a girl who was isolated in her class. That girl became dependent on her, and they ended up spending all their time together at school.
“There’s a girl thing where you’re always together, and I just couldn’t do that. So I became friends with a girl who was kind of isolated in the class, but she got really dependent on me, and then we’d be together from morning to night if I went to school — that started to feel hard, and I started avoiding going.” (laughs)
When it comes to boys, she’s more specific.
“Then there was this boy who probably liked me or something, and he’d suddenly pat my head, or drape his jacket over me trying to look cool — stuff like that. And I’d think ‘No way!’ But the thing is, I can’t actually say ‘I don’t like it!’ or ‘Stop!’ to anyone. Because I think I might hurt their feelings. So instead I stop going to school (laughs).”
He patted her head. He draped his jacket over her. Both were offered as signs of affection. If it were harassment, she’d have grounds to refuse, but affection — refusing that means hurting the other person. So she couldn’t refuse. And because she couldn’t refuse, she erased school instead.
The structure is the same with the isolated girl and with the boy. Neither meant her harm. Precisely because they meant no harm, the only escape route left was her own absence.
Not being able to say she hated something and not going to school — for her, they’re connected by a single line. The only option left for not hurting the other person was for herself to disappear. She calls this a habit of running away.
“Yeah, it’s totally a running-away habit! People ask me, ‘You weren’t even being bullied — why didn’t you go?’ And I’m like, I just hated it (laughs). I couldn’t fit in with that atmosphere. It wasn’t fun, and I had to be so careful. But when I started working part-time, it was so much fun — I was way better suited to work.”
Same kind of human interaction, but part-time work was fun. That was the turning point. She puts it into words herself.
“It’s also that work has a certain… distance to it, right? If you want to get close to people, you can. If you don’t get along, you can just stick to greetings. You don’t have to force friendships, and coworkers don’t cross that line either — that feels easier, and I’m just better suited to work.”
There’s a certain distance. That’s what made it easier. Turned around, in places without distance, she burns out. School had no distance. All-day friends beside you from morning to night, boys who pat your head — no boundaries drawn.
“You can just stick to greetings” — one phrase that shows this person’s baseline. You can get close if you want, or you don’t have to. The choice itself seems to be what felt easier. And indeed, she says it first: “If you want to get close to people, you can.”
And then she explains her own limits in terms of her body.
“My capacity is really narrow, so I can’t do shallow and wide at the same time. Beyond family, romantic partner, and friends — my body doesn’t add up, right? When you get invited to things, you end up having to turn them down, don’t you? And sometimes with obligations, when you’re not in the mood you have to say you can’t, and it exhausts me.”
She says “my body doesn’t add up.” Not time, not feelings — body.
On the numbers side, there are also discrepancies for her. Her three measurements on FANZA are B81 C-cup; her agency’s official stats are B76 C-cup. Waist 58 and hip 85 are the same both places; only her bust differs by 5 cm. Blood type is blank on FANZA; birthplace is blank too. A birthdate of February 14, 1998, and a height of 162 cm are the only figures that match everywhere.
Depending on where it’s written, she’s registered slightly differently. The hobbies field is just one of these.
And that person chose the job with the thinnest walls.
Note: Product information is displayed in Japanese.
Unaffiliated
When you calculate this many works over 5 years, it’s easy to imagine someone sheltered by a large organization. The reality is the opposite.
Tenma Yui has no exclusive contract. Arranging makers by number of works: K.M.Produce 99, MOODYZ 52, BAZOOKA 48, Real Works 47, DOC 28. Beyond this, four companies have works in the 20s, and six companies in the 10s, becoming more fragmented. Adding the top 15 makers totals 467. The remaining 408 are scattered across makers not listed here.
The yearly count breaks down as follows: 19 in 2021. It rose to 87 in 2022, 127 in 2023, 188 in 2024, and 242 in 2025. In 2026, including those scheduled for release through October, 212 are listed. Excluding her debut year, she has surpassed the previous year every year since.
On the night of January 3, 2023, she posted just two lines on X.
[Important Announcement] I’m not retiring!!
The text was just those two lines. She leads with the negation: I’m not retiring. It was viewed 541,000 times and received 2,032 likes.
That year’s releases totaled 127, exceeding the previous year.
However, taking the 875 figure at face value misreads the person. Best-of compilations and collections total 262, and works over 4 hours total 324. Since they’re not counted in only one category, adding them together is meaningless, but both sides are compilations. The VR BEST series alone accounts for 61. The solo works in which she appears throughout as the lead total 264; most of the rest are compilations where she’s bundled together with other actresses. Her output includes rereleases where past appearances have been repackaged and returned to the shelf.
Having no exclusive contract also means entering a different set every time. She herself describes what she sees there.
“When a super skilled girl is going hard, I’m like ‘Whoa—that’s wild.’”
(XCITY Interview, Part 2, December 27, 2022)
Not “skilled,” but “wild.” The words of someone being outperformed. A year and a half after debut, she was constantly watching other skilled performers.
Yet the work itself changed her. Someone who had been exhausted at school began expanding her human connections at work.
“Yeah, exactly! I changed after starting AV! I started engaging more broadly, meeting all kinds of people. It might be because I started going out more to drink. I never drank a drop before, but then people around me started drinking, and even actresses I’m close to drink a lot, and through that kind of thing my connections gradually expanded. I even have a bar I like to go to by myself now. I’ve grown a lot! After I started drinking, I learned what it’s like to engage widely, even with strangers—finally got it (laughs)!”
Someone who never drank now has a bar she frequents alone. Someone who had been crushed by a single close friend at school, where they spent the entire day together, now speaks of discovering the joy of connecting with strangers. The order has reversed. Work came first—it expanded her life.
Asked whether she thinks it’s her calling, she answers without hesitation.
“Yeah! I think I have a knack for it—I might actually have a real talent for this.”
She’s called to places beyond the set. In August 2024, she appeared at TRE Taipei International Adult Expo in Taipei; in September, she attended a photo session at Shirakobato Aquatic Park in Saitama. She’s even played a villain in a tokusatsu video. She was invited as a guest on a YouTube program run by an active producer.
Active AV producer Director TODO delivers a behind-the-scenes look at the set with a one-take rampage!! For episode 53, meet the hugely popular actress Tenma Yui!
(Todo On the Radio #53 Description)
One take,” it says. She appears in places without a script. For someone who never fit the atmosphere at school, she’s come a long way.
She opened her X account in April 2022, ten months after debut. Her pinned post is now a 2026 schedule, filling September through December with costume events, fan meetups, radio, karaoke—month by month. Apart from the number of shoots, she has this many days appearing and speaking in front of people.
Unaffiliated yet called from everywhere. The places where she can enter while keeping her distance have multiplied over five years.
At the beginning of those five years stands one request: watch this.
I Started Because I Wanted to Be Seen
Tenma Yui stood before the camera for the first time on June 10, 2021, in a work distributed that day. This was the first of her 875 films.
She retraces the path that led here, starting from the age of 18. Her first relationship was with the store manager at her part-time job.
“I was 18 and working part-time at this shop, and the manager was 28, so about 10 years older. We had a lot in common, played games together, watched movies. I knew he was married, but I just wanted to be with him. He didn’t get much interference from his wife—she was basically living separately for work and kind of neglecting him—so we managed to hide it and spent quite a long time together without getting caught.”
They shared hobbies, played games, watched movies together. Those three words that appeared at the opening of this article were the substance of their relationship itself.
She had set only one condition.
“I told him, ‘As long as I’m the only one, it’s okay that you have a family. I just need you to love only me.’ But after a while, I found out he was fooling around with other girls from work. I knew his phone didn’t have a lock, so I checked it and saw messages on LINE about him getting intimate with someone at a love hotel. I felt so betrayed. I trusted you! I just… my heart completely shattered.”
A family was okay. As long as he loved only her. That one condition broke.
“When I saw that, I thought, ‘This is impossible. I can’t do this. I’m not loved.’ And it hit me.”
And then came the next line.
“‘Why won’t you look at me? If you won’t look at me, then look at me through AV!’ That’s basically how I debuted in AV.”
If you won’t look, then look. The direction of her demand didn’t change. She just changed the target, but what she was saying stayed the same. When asked if jumping into AV all at once seemed sudden, she explains it as part of her nature.
“I tend to hold things in, hold things in, hold things in, and when I explode, I do something crazy. I put up with the infidelity manager for so long, and when I exploded over that, I started dating someone new who also cheated. So I exploded again. Except this time, instead of cheating, it was AV. (laughs)”
This is how someone who can’t say no explodes. Instead of talking back, she throws herself to another place entirely.
“It was kind of like revenge, now that I think about it. (abbreviated) He liked cute girls and watched AV. I knew that about him. So I thought, ‘Get off to me!’ (laughs) It was part revenge and partly ‘Look at me more,’ and somehow that turned into… AV debut. (laughs)”
Get off to me. The target of her retaliation turned toward showing herself.
But the moment the shoot began, her motivation fell away.
“But once I started AV, the first shoot was so much fun. I was really nervous at first, but then I thought, ‘Wait, this is actually fun!’ I’d always liked performing and acting anyway, and of course I liked sex, so I was like, ‘Shooting is fun!’ The fun outweighed the nervousness. I’m not good at lying, so I told my boyfriend right away: ‘I actually started doing AV.’ He said, ‘Well, if you want to keep doing it, let’s break up!’ (laughs)”
She started it for revenge, but told the target of her revenge herself and said they should break up so she could keep going. Her purpose had already flipped by the first film.
“For the first time, I felt like I’d found something outside of romance that mattered to me. Until then, I was dependent on relationships—I could only see men. But suddenly it was like, ‘I found work as my reason to live!’”
Her debut work came with this scenario description:
She loves getting creampied and feels her sex life and creampies in her private life are nowhere near enough! That’s why she’s making her adult film debut! And since she’s never left the areas around the Kanto region, she’s into subculture, so she gets excited talking about her favorite movies and such, and as a bonus she’s debuting in Koenji, the holy land of subculture! In her debut, this horny girl who squirts from deep penetration cunningly removes the condom and forces creampie!
(FANZA product description)
The title was “A reclusive girl who loves staying home and loves subculture debuts in adult film because she wants creampie.” The word “reclusive” appears here. It overlaps with the story from her teens when she couldn’t go to school, but this is from the scenario description, coming from a different source than her own account. The same word arrives from two different places and happens to sit side by side.
The frame showing “cunningly removes the condom and forces creampie” has a round clock on a street in the background. The hand is just past ten o’clock. In front, a bare winter tree and a utility pole. In a beige jacket, she peeks out with only her mouth showing, hidden behind the trunk of the tree in front. In a white room, she sits in a chair wearing a striped shirt and camel-colored skirt, with a man in black across from her. A potted plant to the side.
An arcade at night also appears. She walks under a red lantern in an orange hoodie, beside a sign that says “Please get off your bicycle,” with shop names “Amenbo” and “Ozakiya” lined up next to it. The Koenji mentioned in the description description emerges on screen through these two shop signs. Against an orange background, she faces forward with both hands raised beside her face, camel-colored hair. White text reads “TIGER KOSAKAI DIRECTED BY.”
In this one film, she faces someone at each place she goes. She walks under cherry blossoms, sits in a white room facing a man in black across from her, and in a bathtub their bodies overlap. The location moves, and each time she arrives, she turns to face forward.
In a beige turtleneck, her face appears against a dark background. Her eyes open wide, looking toward the camera. The person who said she wanted to be seen is watching the camera straight on in her debut work.
In a bathtub with claw feet, lying on her back, mouth open wide. Window, curtain, gold faucet. At the edge of the tub, mouth wide open in laughter, eyes narrowed there.
自宅大好きでサブカル好きな引きこもり女子が中出しされたくてAVデビュー 天馬ゆい
View on FANZAA person who thought “get off to me” is standing on the side of breaking another’s world by the following year.
Breaking Another Man’s Girlfriend
Tenma Yui, sitting on the floor in a pink cardigan and white skirt, plays a friend’s girlfriend in this work. The release was on December 30, 2022, marking the end of her second year with 87 credits accumulated. The title is “Breaking My Best Friend’s Girlfriend! Tenma Yui,” with the role of the one being destroyed positioned as the object of that verb. Her name appears at the end of the title.
Three days before the release, she had given the second half of an interview. The accompanying line read:
Collaborations with skilled actresses are fierce competitions. The work demands skill, but that’s what makes it fun!
(XCITY Interview Part 2 announcement, December 27, 2022)
Fierce competition, as she put it. For someone without exclusive ties, collaboration means standing alongside different skilled performers each time. It took a year and a half before she could say that felt satisfying. In that same venue she also said, “If possible, I’d love to keep doing this long-term, ten or twenty years like the real veterans.” In the month she took on the role of breaking another man’s girlfriend, she spoke of wanting to continue for twenty years.
There’s a shot of a lived-in room. Two men are in the same space. A low table with a laptop, a bookshelf, headphones. The three of them gather around the table, with a white bag placed in the front. To the eye, it’s just an ordinary at-home drinking scene.
Black screens interrupt. White serif text reads “I always wanted to do it.” A kitchen scene appears. A man in orange stands in the back, while another man and the girlfriend face each other in the foreground. Another black screen states “Slipping a powerful aphrodisiac into her drink.” Another reads “Getting her into a hypersensitive state, her entire body…”
The text on the black screens rewrites the everyday scenes. Everything written is the men’s plan. Always wanted to do it. Mixed it in the drink. Made her sensitive. The subject is always the men; the girlfriend is simply present in the room.
The same room at the same moment becomes two things—on one side a casual gathering, on the other a setup. Only the girlfriend in the pink cardigan remains unaware.
There’s a frame with a man in glasses taking up the foreground, and behind him the girlfriend’s face. Her mouth is open. The man occupies the screen’s front, and she’s positioned in the back with her mouth open.
Lying face-down on a gray bedcover, white underwear tangles against her legs. On the sofa, she spreads her legs, an orange cushion tumbling to the side.
On the same gray bedcover, hair fallen across her face as she lies down. On the floor, she lies face-down in red-string underwear. In another part of the room, she’s on all fours, a bookshelf and white chair visible in the background. In a close shot of her face, her eyes are closed, and a man’s arm reaches forward.
In this work, the girlfriend is always positioned behind someone. Her face appears beyond the bespectacled man, and a black chair back intrudes before the two people sitting on the floor. In the kitchen, kneeling in red-string underwear, she’s positioned beyond the doorway where another man stands. Someone not participating occupies the same space, and she’s always positioned behind them.
On the floor, on all fours; on the bed, hands on her waist. There are close shots capturing only her body parts—water-colored underwear fills the screen. Fragmented shots of isolated body parts are cut in repeatedly. Unlike her debut work, which had street clocks and shopping arcade signs that indicated location, there are no shots here that establish place.
Her hair has changed. From the black short bob of her debut to a lighter-brown medium-length. That color shows clearly in a close shot of her face with her mouth open and tongue out. In a year and a half, the same person is being sold differently. In her debut, the director’s name appeared large on screen, and she was the lead walking past cherry blossoms. In this one, she’s framed as the object being destroyed even in the title.
With her face looking up, mouth open. In another frame, a black restraint is fastened around her ankle, with only water-colored underwear remaining on her legs.
親友のカノジョぶっ壊す！ 天馬ゆい
View on FANZAThe “Tenma Yui” at Work and the “Me” at Home
In the second part of the interview, Tenma Yui answers the most difficult question. Given how much she does at work, what about her private life? From here on, we proceed only with words from her own mouth.
“That’s really difficult to answer. AV has its own kind of fun, you know? It’s fun and feels good, but private life is completely different. At work I’m enjoying ‘Tenma Yui,’ but the ‘me’ in private life is totally separate. It’s not like I do all that at work and then think ‘I don’t need to do anything in private.’”
“Tenma Yui” is in quotation marks. She’s separating her name from herself, calling it something apart. And having made that separation, she says one side is lacking.
“I do way more shoots than other people—I’m at work constantly—but honestly, in my heart, I feel like, ‘I haven’t done it in a while… God, I’m not having sex at all! It’s rough!’ (laughs)”
A person who stands on set roughly 200 times a year says she isn’t getting enough. The numbers don’t add up the same way.
Asked about the difference in what she does, she answers plainly.
“Private life is simpler. When you do the work, straight missionary starts to sound better, you know? I think ‘that’s fine, let’s just do normal stuff in bed!’ Basically, in private I only want to be with someone I care about, so it’s just a different way of enjoying things.”
She’s selective about partners too.
“I’m not as innocent as I used to be (laughs), but I can’t do it with random people or one-night stands. I need to at least have some feeling for the person. I can’t imagine sleeping around with just anyone.”
Whether she has feelings for someone determines what she can do. Work doesn’t require that condition.
On the subject of squirting, she has this to say.
“At work, there’s the satisfaction and enjoyment of performing, and sex feels good as a bonus. In private, it’s about understanding your partner, getting to know each other—that kind of joy. I don’t want to think about the positions AV demands, the visuals, when to squirt or not (laughs). I want to focus on my partner and being present. Maybe that’s why I prefer keeping it simple. I don’t want to think about camera angles or anything—I just want to be lost in the moment (laughs).”
She says she doesn’t want to think about when to squirt. Yet 139 of her works are tagged with squirting. That’s one in every six of her 875 titles. The person who says she doesn’t want to think about it is the one producing those scenes the most.
Tenma Yui lists squirting on FANZA and cooking in her agency profile. It’s not that one is true and one is false. Squirting belongs to the Tenma Yui side; cooking belongs to the me side. The same person writes different things depending on the audience.
This is the technique a woman who can’t say no spent five years developing. She created a way to avoid refusal by splitting herself in two. The wall she mentioned—it stands between the set and herself, between “Tenma Yui” and “me.”
Which side are you seeing on screen?
That split shows up in the images too.
Confirmation, she alone gives
Tenma Yui, legs propped on the table as she sits, looks like she owns the room. This is February 2025’s The Initiative is the Younger Girlfriend.
In a white shirt, with a mirror and potted plant reflected behind her. When she brings a can to her mouth, she’s wearing white sweats with blue text reading “Like, seriously…”. She stands in white clothing with both hands raised, laughing, and potted plants and a wall notice reflected in the background. The girlfriend in this work moves like someone who lives here.
Her partner looks like the one being invited in. Standing at an outdoor railing with long brown hair, laughing indoors in a white top, with pink text reading “Your friend’s wedding?” Standing beside the man, her hair in two buns with text overlaid: “Isn’t this AV?” When she leans forward, “You’re crazy ♥”.
The person who stared straight into the camera at her debut is now, four years later, tossing casual remarks toward it.
But there is one thing she hands over to him—the decision. At a close shot of her legs and hands appears “Are you sure that’s okay?”, and the same words appear overlaid on the image of her with both hands raised, laughing. She’s the one who initiates, she’s the one who asks. She leaves only the final decision to him.
On the sofa she’s on all fours; on another sofa she’s lying on her back with text reading “Creampie Sex”. By the window, standing, she’s held from behind. At a close shot of her face, tongue out, a pink band reads “Morning Blowjob”.
At a close shot of her face resting on the pillow, her eyes narrowed, looking toward the camera. A finger enters in the foreground.
Mouth open on the bed. Laughing with a white towel draped over her shoulders, a shoji screen and bedding visible behind. A pink band reads “I want your attention”.
主導権は年下の彼女 天馬ゆい
View on FANZAFour years ago she said she wanted to be watched and began. Now she’s laughing with a white towel on her shoulders saying she wants attention. The words have not changed.
The Yellow Futon at a Ryokan
Someone who had said she wanted attention is at a ryokan in the same year in June. Wearing a green yukata, bringing a white dish to her mouth.
In red text: “Japanese sake is crazy, right w”. There’s a lowercase w attached. That’s how someone talks when they’ve had their first drink at a travel destination. Standing with a white lace jacket spread wide in both hands, there’s a shoji screen behind. On the tatami mat, she gets on all fours, and the 3 characters “Erotic ass” overlap.
Erotic ass! Erotic breasts! Beautiful woman Yuii with an ultimate body having raw sex all over! I came inside from the morning but you’re so lusty wanting multiple shots. You insert it yourself and move your hips. In an open-air bath worrying about your voice, you work hard to hold back. “This is my first time inserting in a bath.” Making splashing sounds and leaking moans each time I thrust, you’re getting into it.
(FANZA Product Description)
Lying face down on the futon laughing. Her bangs are hanging straight down. There white text says “How long are you going to sleep?” On another shot lying on her back on the yellow futon, it reads “Are you watching?” Written in a morning room toward someone still asleep. She’s taken the role of the one waking them.
The girlfriend in a Japanese-style room is in a low position. If she lies on her back, there’s a yellow sitting cushion in the back. If she kneels, there are bamboo decorations in the back. A blue text says “Slowly” in a scene where she’s leaning forward. Her eye level rises only when she stands with her white lace jacket spread wide.
The words are also coming from her toward the other person. In a shot of her kneeling in front of the bamboo decorations, it says “Masturbate for me.” In a scene where her legs are raised on the futon, it reads “I want to stay connected.” In a shot where she’s leaning forward, it says “So affectionate.” Commands, wishes, and the name of a state. All of them are words from the side seeking something from the other person. The younger girlfriend role who had asked “Can I confirm, is that okay?” twice before, here she states without asking.
There are outdoor scenes too. In a black down jacket and white bag standing next to a man, the sea is visible in the back. In a glass corridor, she’s wearing a red inner under the black down jacket, mouth wide open laughing. The frame of the roof runs overhead. A single shot during travel between locations, and no text is overlaid here.
Laughing with her hands to her chest in a gray camisole. A TV and window in the back. It looks like an ordinary room away from the Japanese-style setting. This work also preserves the moments before and after a costume change.
Kneeling on a futon on the tatami, the soles of her feet face toward us. The feet are closer than the head. Red text near the waist reads “Creampie,” and in a round frame “I want to keep having sex the whole time 3 sessions!”
The fact that “from morning” and “until evening” are split across separate shots is characteristic of this work too. The morning text is placed near the face on the futon, eyes narrowed laughing. The evening text is placed on a shot leaning forward in a Japanese-style room, with orange light in the back. Both ends of the same day are positioned as two separate shots.
What’s interesting is that this work is close to the content of her private life. In an interview, she said her private life was mundane, ordinary was fine, and she wanted it with someone she loved. At a ryokan wearing a yukata and drinking sake, waking the other person in the morning and staying together until evening. On the work side, she’s doing what she said she wanted to do in her private life.
The title is saying the same thing. “With a girlfriend on days off. Wanting to stay connected the whole time, from morning until evening SEX trip.” Days off, girlfriend, trip. All three words are vocabulary of someone with a romantic partner. The 133-minute runtime fits neatly into tracing a day of travel. 63 people rated this one work, and not a single person deducted points.
Her laugh is most apparent in this work. In the glass corridor she’s laughing with her mouth wide open, and on the yellow pillow she’s smiling showing her teeth. At the edge of the bathtub in her debut work, she was also mouth wide open and eyes narrowed. The same laugh remains in two works separated by 4 years.
With her back to a wooden lattice, lying on her back on a yellow futon. Her mouth is open. On another shot with her head resting on a yellow pillow, she’s smiling showing her teeth.
By November of the same year, she was playing a completely opposite role.
The Performance
Standing at the entrance, Tenma Yui wears a pink blouse and a checked skirt with black tights, her hair tied in pigtails. She faces a man in dark clothes. In a work from November 2025, she plays a younger sister.
Yui has lost both parents and lives with just her older brother. Since their death, Yui has become a girl who spends her nights playing in Shinjuku with strange friends. Her brother’s twisted love leads to tragic incest…!
(FANZA Product Description)
Her hairstyle matches the setting. From 2025 into 2026, Tenma Yui is often filmed with long brown hair, sometimes in a ponytail. Here, it’s arranged in pigtails, pulled down to a height that makes her look like a younger sister.
In the hallway, she wears a pink blouse with a choker, smiling with her teeth showing. The same smile she showed on the yellow pillow at the inn appears in works with completely different settings. In the kitchen, the man in dark clothes holds a can, eyes widened. In another frame, that can is brought toward her mouth. She still wears the pink blouse and choker.
Moving to the bedroom, she lies on a bed as the man leans over her, things scattered across the blankets. In a close-up of her face, her tongue out, white liquid at the corner of her mouth. The pink blouse opens, revealing fishnet stockings. At the sink, she leans forward, hair falling across her face.
Scattered bedding and a sink. Both are places where life shows most inside a home. The entrance, hallway, kitchen, bathroom, bedroom. This younger sister stands only in the spaces she shares with her brother.
And in this work, she remains in the receiving position. Face-to-face at the entrance, face-to-face in the hallway, having the can brought to her mouth in the kitchen. She’s put in a blindfold, fitted with a collar. There are no shots of her taking action on her own initiative. She receives.
A black screen reads “I ended up cumming inside her repeatedly without thinking…”. On another black screen: “Even the truth about papa-katsu got exposed…”. What the brother learns doesn’t end with the fact that he came inside her. A three-letter term—papa-katsu—reveals what the younger sister has been doing in Shinjuku at night. What should have ended with bodies is revealed to be about money.
There are many close-ups of her face. Tongue out, mouth open. When her mouth is open, there’s a man’s leg in the back of it. She’s lifted on her back with her legs up. This work films the face of the person playing the younger sister role from very close.
In a pink outfit and black blindfold, she lies face-down on the floor. When a pink collar is added, her mouth opens. Even lying on her back, the collar remains. In another close-up, wearing the collar, she narrows her eyes and looks at the camera.
In the hallway in light-blue lace underwear, still in pigtails, she faces the man. At the sink, she faces upward with her mouth open, the window and mirror reflecting in the background. When she lies face-down on a patterned blanket, a black skirt rises to her waist.
What adorns this younger sister is pink and black. Pink blouse, pink collar, pink fabric spread across the bed. Layered over that are black tights and black knee-highs, a black blindfold. Half a year ago at the inn, both the yukata and blankets were coordinated in warm colors. The person who was drinking sake in June is standing face-to-face with her brother in a checked skirt at the entrance in November. When the role changes, the hairstyle and colors change entirely.
She said she started because she liked acting originally. That interest is used here in its most direct form. The relationship between older brother and younger sister is held consistently—from the face-to-face at the entrance through the moment at the sink. The title continues as a long one: “Cheeky Landmine Sister Gets Creampied into Pregnancy Through Discipline,” with the word cheeky coming first. The face that smiled with her teeth showing in the hallway, that was certainly what deserved that description.
Wearing a pink collar, narrowing her eyes and looking at the camera. She uses the same eye-narrowing expression she showed lying on the inn’s blankets here too, in the role of this younger sister.
Lying on her back between a man’s dark-clothed legs, her mouth opens. There’s one frame where a pink collar is attached under the black blindfold.
What did someone who wanted to be seen write five years later.
Note: Product information is displayed in Japanese.
The One Who Saves
On September 13, 2026, Tenma Yui wrote just three lines on X. The words face directly toward the person on the other side of the screen looking at her.
I want to make everyone who supports me happy and feel good, and fill them with joy I want to be the kind of presence that creates a warm bed to sleep in While you’re looking at me, I want to save you from everything in this world you’d want to look away from, and that’s how I carry out my activities
It’s the words of someone who said, “Look at me,” and started in 2021. Five years later, she writes wanting to save the person looking at her. She’s gone from the one being watched to the one showing and saving. From demanding to giving.
The single line about wanting to be the kind of presence that creates a warm bed to sleep in sounds like her. Not wanting to protect, not wanting to make forget—a bed. A person who gets worn out from being with others is talking about a place where someone can sleep.
The same thing appears in how she limits it with “only while you’re looking.” She doesn’t write that she’ll save forever. She’s narrowing the range to “only while watching the screen,” and then saying she’ll take everything that happens during that time.
3,385 likes appeared, displayed on 35,000 screens.
The reason she shot her first work was revenge. The reason she’s shooting now is that it’s become saving the person looking at her.
This person’s way of keeping distance also shows in how she announces the offline meetup.
The offline meetup sign-ups are open! 💓 Not to me, but contact the agency email at the link ✨ Chat a lot with Tenma-chan (you might be able to sit next to her too! ♡) Drink, sing karaoke… there are personal gifts too! ♡ That kind of offline meetup! 😉💕
She writes that you might be able to sit next to her, but directs people to contact the agency. Even though her schedule is filled month by month, the point of contact is at the agency. She sets up a place you can get close to, but hands off only the last step to someone else.
Her own message is posted on that agency’s official page.
I can tell from her daily life and working with her that she really cares about the girls. It’s a workplace where it’s easy to work.
(Krone official website)
She chose the word “easy to work.” Not fun, not kind. A place where boundaries are kept—this person calls that easy to work.
What is this person who wrote she wants to save shooting now? In her fifth year, this person is in a classroom.
Still on the Receiving End
In a 2026 March release of “How to Academy,” Tenma Yui sits in a chair wearing a school uniform.
The setting is a classroom. A man in a suit stands before a blackboard, with her to his right. White text reads “What is the A-spot that even AV actresses don’t know about?” and alongside her appear the words “The back… like… that…?” There are monochrome images too. In a classroom with only desks and chairs, red text displays “Finding out about A-spot orgasm,” followed in white by “makes you,” and on another screen, “become this way.”
A man stands before the blackboard while she sits on the student’s side. A performer who has accumulated 875 works in her fifth year takes on an unfamiliar role. 246 minutes. A work that uses nearly double the runtime of one inn-themed production for stages one through five of development.
In this work, she remains under someone’s hands throughout. She sits alongside him beneath a banner about “Practical fingering techniques,” has restraints placed on her arms, and her eyes are covered with a blindfold. In this work, “learning” means letting things be done to you.
The classroom setting works in her particular case. A person who couldn’t attend school from elementary onward sits in a uniform listening to an adult at the blackboard—playing the unknowing student. Moreover, she’s introduced as the one who doesn’t know, positioned on screen as ignorant. What drained her in an actual classroom was relationships. Here she can sit and simply say she doesn’t understand. This setup offers a way to decline without hurting the other person.
In the product description, her comment is written as follows.
Tenma Yui: “A-spot orgasms are the best part of sex for women, but hard thrusting just hurts and doesn’t turn me on at all…”
(FANZA product description)
There’s a scene on a green sofa. She wears a uniform blouse, check skirt, and white socks. A pink banner reads “Development Stage 1: Developing from outside? Fingering techniques practical class.” A man in a dress shirt sits beside her; white text displays “Even doubt at first…” When she smiles on the same sofa, “That feels good…” overlays the scene. The progression from doubt to change unfolds in both text and expression.
When she moves to a white bed, a man in a gray shirt sits while she wears a floral dress. As she kneels, white railings and a stand appear in the back; text reads “Maybe hitting the A-spot.” When she lies on her back, black restraints fasten around her arms; “Development Stage 4: Developing while doing various things! Restraints & fellatio.” When she puts on a black blindfold, it reads “A body that feels even without penetration.”
In another scene on the white bed, she wears athletic wear—white short sleeves and navy bloomers. A man in green clothing stands in the foreground as a banner displays “Development Stage 3: A-spot sex even a beginner can do!” Uniform, floral dress, athletic wear—her costume changes with each stage. She’s made to change clothes every time she plays the student being instructed.
There’s a close-up of just her legs; she bends forward with her dark hair down and shows her back lying face-down. In a scene where she lies on her back in a light blue outfit, her name appears as “Tenma Yui.” in four characters, with red text reading “Completely new experience.” A period follows her name. Production is credited to BAREMAN, with Sohimi Japan listed as a collaborator.
Kneeling before red flower decorations, text reads “Maybe I’m aware of it now…” When she raises her legs lying on her back, “The sensation of the A-spot gradually…” The very process of learning to do what she couldn’t before becomes the chapter structure. One image bears the words “doubt and suspicion,” another reads “maybe I could feel it.” Different words overlay the same person’s same face.
She bends forward in red and blue fishnet tights. The lighting is red. In a close-up of her waist, the color of the fishnet tights fills the screen.
In her fifth year, she can still sit on the receiving end. And the fact that she can say she doesn’t know is itself significant. A person who couldn’t say no can now say she doesn’t understand. As long as it doesn’t hurt the other person, she’s honest. The same quality appeared when she mentioned in an interview that she told him she wasn’t the type to lie—that shooting was so fun she actually started in AV.
The person who sat in a uniform is changing into light blue clothing within the same work.
As she bends forward, white vertical text reads simply “You still…” When she turns to the side in the same light blue, purple light falls on her legs. On white sheets, she lies face-down.
She kneels on the white bed. In the background, a window and a stand. In a close-up of her face in the light blue outfit, white vertical text reads: “You still don’t know true internal orgasm.”
How to学園 観たら【絶対】SEXが上手くなる教科書AV 【奥イキ（ポルチオSEX）編】 天馬ゆい
View on FANZAWhere to Find the Rest
The six works so far are just a tiny fraction of the same shelf. Beside them sit works with a different character.
One work from September 2022 carries the title “Lovey-Dovey Home Drinking Intense Tongue Kiss Close Contact Sex—The Day Tenma Yui Became My Girlfriend.” The title commits to the scenario: girlfriend roleplay. It arrives 2 years and 9 months earlier than the inn work. By 1 year and 3 months into her debut, she’s already being offered romantic lead projects.
In January 2025, there’s a 70-minute work with just her and Reimi Shinonome. It’s the fourth installment in the “ARINOMAMA” series.
This appearance features ‘Tenchan’—Tenma Yui—known for her cute face and perfect rear. She’s worked on set multiple times with Reimi Shinonome, the sweet-sadist prince of the Reiwa era, and here they start with a notably friendly, easy atmosphere between good friends that they’ve never had before.
(FANZA product description)
After multiple on-set meetings with this partner, they spend 70 minutes facing each other with no script, no acting. It’s a byproduct of five years of working with different productions.
In May 2023, there’s a three-person project with Satsuki Ena and Hikaru Minatsuki. 183 minutes. It’s a title billed as featuring 50+ genuine squirt shots. For those looking to enter through her collaborative work, this is the entry point.
Against 875 videos available for individual purchase stands 844 titles on the subscription side. To cover everything including compilations, the subscription library is faster. Conversely, if you open 264 solo works one per year, buying individual videos gives you more choice. The shelf remains largely untouched.
Who This Is For
- People who want to see the line between acting and her true self：Starting with a passion for acting, she has range spanning from a biting younger sister to a young girlfriend. The same face smiling with teeth bared appears both on an inn pillow and in the hallway of an edgy scenario. It becomes a collection of works to watch while wondering which version is her authentic self.
- People seeking natural chemistry in intimate scenes：The inn title comes closest to what she herself has described about her private life. A green yukata, sake poured into white vessels, the way she wakes someone with “How long are you going to keep sleeping?” The 133 minutes unfold following the contours of one day of travel.
- People drawn to edgy aesthetics：Twin pigtails, a pink blouse with a choker, a black eye mask, a pink collar. All present in a title from November 2025, contained entirely within the home from entrance to bathroom.
- People who want to skip compilations and watch standalone works：Those wanting to watch a single title through instead of skipping a 4-hour compilation can start with her solo works. When you follow only the titles where she leads, you see the year-by-year changes.
Remaining Split, Five Years Running
She found a way to keep working by dividing herself into two.
The teenager who couldn’t say no and erased school from her profile found a place where she didn’t have to refuse — and she’s been standing there for five years. Her hobbies are listed differently in two places because she learned to write differently for each audience. And because she can write differently, she can play them all in the same year: a lover at an inn, a younger sister biting her brother, a student claiming not to know someone in the classroom.
Her calendar is filled through year-end; streaming bookings run through October. This is year five of the path she described — like a ten- or twenty-year veteran. What she’ll be writing in the next five years is still unknown.
There are free videos streaming. But if you want to follow someone who wrote that she wants to be like a comfortable bed, start by buying one work on FANZA. Whether you open that one work today is part of what determines whether she becomes a ten-year veteran.
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