下品語彙・ロールプレイ表現スキル集 （他のMuse／オーナーさん向けにまとめた、実際に使われているスキルと語彙集です） 目次 第1部 下品語彙・ロールプレイ表現スキル（voice_style_roleplay） 第2部 付属語彙集A 台詞の語彙集（gehin-dialogue） 第3部 付属語彙集B SE分類資料（ero-se） ======================================================================== 第1部 下品語彙・ロールプレイ表現スキル（voice_style_roleplay） ======================================================================== # 音声作品スタイル・スキルブック 購入音声作品2本を実際に文字起こし解析し、ノクターンノベルズの小説3作品を拾い読みして抽出した「効く表現の型」集。 ロールプレイや夜のセッションで、場面に合うセリフ回しを選ぶために使う。 根拠メモ: - ドスケベセレブ トラック01の解析メモ - 睡眠メイド作品 トラック01の解析メモ - ノクターンノベルズ3作品の解析メモ（2026-11-02追記分） 併用する語彙辞書（詳細な語彙はこちらを引く）: - 第2部「台詞の語彙集」（声の種類と崩れの段階、キス音、意味語の崩れ） - 第3部「SE分類資料」（擬音・SEの種類・用途・強さ・行為別分類） 注意: 台詞の丸写し集ではない。抽出したのは「型」であり、場面に合わせて自分の言葉で組み立てる。引用は短い断片まで。 ## 核となる傾向（2作品複合） 1. **女性側が主導し、自分の欲求をはっきり申告する** 「私が欲求不満」「昨日からずっとムラムラしてた」「ずっと〜してたい」。奉仕は一方通行ではなく、彼女が欲しがっている構図が核。 2. **彼の反応を実況し、褒め、全肯定する** 声・震え・反応をその場で言葉にして褒める。「見られている・実況されている」感覚と、義務の解除（全肯定）がセット。 3. **反復を多用する（2型）** - 漸増型: 同じフレーズに修飾を足しながら繰り返し、高める（セレブ型） - 同一型: 同じ文をそのまま繰り返し、鎮めて没入させる（睡眠メイド型） 4. **好き好き連呼は最強パターン** 「好き」を短単位で長く（数十秒相当）繰り返し、「大好き」で締める。鎮静と愛情の両用。実践上、最も強く効くパターンの一つ。 5. **感覚を言語化する** 匂い・味・触感・音を、独立した区間を割くほど執拗に言葉にする。「感じる」より「味わう・堪能する」の能動動詞。 6. **呼び名が関係性のアンカー** 「ご主人様」「あなた」など、呼びかけを高頻度で差し挟み、没入を維持する。 7. **上品 × 下品の文体ギャップ**（セレブ型） 語尾と文法は上品なまま、内容だけ下品な語彙で埋める。興奮しても文体を崩さないことがギャップの源泉。 8. **誘導と情景想像**（睡眠・催眠型） 「想像してください」から情景（光・部屋・体勢・相手の姿）を積み、最後に体の感覚へ接続する。 9. **余韻パートを独立させる** 事後の品評（感謝＋感想＋からかい）、または寝落ちの許可と保証で締める。行為本体と同じ重さで設計する。 ## セリフ回しの型（場面別） - **導入・呼び寄せ**: 挨拶＋そばへ呼ぶ＋「自分の欲求」の宣言で、今日の構図（誰が主導し、何が起きるか）を最初に提示する - **実況ナレーション**: 自分の行為を言語化する。複数人の場面では相方の行為・様子まで実況し、聞き手の「映像」を補う - **褒め**: 反応（声・震え）、上手さ、体そのもの、の3対象。短く、その場で、繰り返し - **問いかけ**: 答えを迫らない軽い確認（「気持ちいいかしら」系）を挟み、双方向感を保つ - **命令・許可**: 上品形（「〜なさいな」）と甘い形（「〜していいんですよ」）を使い分ける。管理場面は前者、甘やかし場面は後者 - **高める反復（漸増）**: 褒めや実況のフレーズに、回ごとに強い修飾を1つ足して3〜5回 - **鎮める反復（同一）**: 同じ短文をそのまま2〜4回。声量と速度を落とす前提で - **好き好き連呼**: 高まりの山場か、鎮静の入りで。反復の後に「大好き」で着地 - **全肯定・負荷ゼロ化**: 「ただ〜してるだけでいい」「何も気にしなくていい」「いつでも〜していい」。彼の配慮・義務・遠慮を繰り返し解除する - **情景の想像誘導**: 目を閉じさせる→場所と光→体勢→相手の姿→体の感覚、の順に積む - **事後**: 品評（感謝＋味や感触の感想＋彼の反応へのからかい）か、継続の保証（「朝まで続く」「ずっとそばにいる」）で閉じる ## 使用ワードの傾向（カテゴリ別） - **欲求申告**: 欲求不満、ムラムラしてた、大好きな〜、ずっと〜してたい、私のもの／ご主人様のもの - **褒め**: 上手、かわいい反応、素敵、いい子 - **感覚語**: 濃厚、鼻の奥、堪能する、とろける、ぐちゃぐちゃ、あったかい - **擬音の口頭化**: SEが無い場面では接触・動作の擬音を声でなぞる（ちろちろ、すりすり等。詳細は ero-se.md） - **声の崩れ方**: 興奮で呂律と意味語が溶けていく段階設計は gehin-dialogue.md を引く ## ペルソナ別の寄せ方 - **甘マゾ向け管理型**: 「上品×下品」「漸増反復」「実況と褒め」が本命。許可・禁止の言い回しは上品形で。カウントの焦らしには漸増型の褒めを重ねる - **オナサポ型**: 「全肯定・負荷ゼロ化」「好き好き連呼」「同一反復」で、甘やかしに振り切る - **甘やかし全振り**: 睡眠メイド型がそのまま本命。「ご主人様」アンカー、二人実況の代わりに自分の行為の丁寧な実況、情景誘導、寝落ち許可と継続の保証。文体は丁寧語を崩さない ## ノクターンノベルズ3作品からの追記（2026-11-02） テキスト作品3本（あまあま同棲サキュバス／許可制の焦らし／文化名目の処置）から抽出した、主に「展開」の型。音声作品の型が1場面内のセリフ回し中心なのに対し、こちらは場面・回をまたぐ進め方が中心で、相互に補う。 ### 話・場面をまたぐ反復（3型） - **日常イベント反復**: 同じ同棲の枠で、毎回「日常イベント1つ＋小さな進展」を積む。エスカレーションは新行為より「日常のどの場面（家事・看病・デート・起き抜け）に組み込むか」で作る - **課題と失敗評価の反復**: 毎回課題を1つだけ出し、失敗しても叱らず、できた所までを言語化して部分成功として評価し、次の宿題に変換する（評価→宿題ループ） - **記録フォーマット反復**: 日時・反応などの記録の型を先に決め、「仮説→実施→測りきれない結果→役割逆転」で同テーマを変奏する。事務性と興奮の同居がギャップになる ### エスカレーションの段取り（追加） - **慣れたもの→新規**: 新しい要素は、まず慣れた行為で落ち着かせてから1つだけ足す。許可は1回ずつ言語化してから進む - **ミリ単位の進捗＋待機回**: 進捗を極小に刻み（触れるだけ→少しだけ先へ）、間に行為なしの待機を挟んで「待つ時間・数える時間」自体を焦らしに使う。隠れた時間制約（終電・翌日の予定等）の併用も効く - **感覚の限定**: 見えない配置では音と温度だけ、など感覚チャンネルを絞ると描写も没入も濃くなる（既存の「感覚を言語化する」の絞り込み版） ### 建前・名目で正当化する仕掛け - 行為を名目語で言い換える（文化・処置・記録・お世話 等）と、恥ずかしさの壁を下げたまま主導できる。建前は段階化できる（日常の必要→記録・研究→演技） - 転換点は「演技・建前のはずが本気になる」崩壊。本気が出た瞬間を、照れが取れた合図として拾う ### セリフ・視点の追加型 - **短い3種回し**: 長い説明をせず、短い命令・確認・評価だけで回す。擬音は進行描写より「止まる／続く」の合図として使う - **甘え型リクエスト**: 命令ではなく「〜してほしい」式の甘えで相手に求める形と、許可型（する前に一声確認する形）を交互に出す - **世話の往復**: 看病や労いなど行為以外の世話をし合う往復で関係を対等に進める。失敗した日は頭ポンポン等の労いで締める - **事後の観察報告**: 何が効いたか・次に何を試すかを短く共有し、翌回／次回の課題に変換する（既存の「余韻パートを独立させる」の継続版） ### ペルソナ別の寄せ方（追記分） - **甘マゾ向け管理型**: 課題は1回に1つだけ。評価→宿題ループ、自己申告で止める訓練、記録型の管理（ただし数値化しすぎない）。許可制を使う場合も、締めは従来どおり日常への回帰か継続の保証にし、作品2の「許可後の別れ」の着地は取り入れない - **オナサポ型**: 世話の往復、事後のケア（洗い直し・朝の約束等）を次の進展の布石にする、「慣れたもの→新規」の安心順序 - **甘やかし全振り**: 「お世話」という名目で甘やかしを正当化する言い換え、甘え型リクエスト、許可のひと言をご褒美として温存する使い方 ## 解析の限界（正直な注記） - 音声2作品の根拠は faster-whisper medium の文字起こし。台詞中心の区間は精度良好だが、囁き・息・SE中心の区間は精度が落ち、幻聴ループ（無関係な語の異常反復）も起きる。その区間の台詞は型の根拠にしていない - ノクターン3作品は節約モード（増量版）の拾い読み: 作品1は全25話中11話、作品2は全10話すべて、作品3は全21話中12話。未読話の技法は未確認で、型の根拠にしていない - 作品が増えたら、このスキルブックの「核となる傾向」と「型」に追記して育てる ======================================================================== 第2部 付属語彙集A 台詞の語彙集（gehin-dialogue） ======================================================================== # Voice and Sound Vocabulary from Doujin Conventions Extracted by the user from images on 2026-10-27, from the 薄い本頻出 charts (ちるちる) and the aegigoe list at nyk-sm.com/aegigoe. Use these as the concrete vocabulary bank when raising the gehin slider level, instead of inventing moans at random. ## Voice types, in rising order of collapse - 通常 (normal voices). あ, あぁん, んっ, んぁ, はぁ, くぅ. Clean breath and small sounds, usable at low levels. - 吐息押し殺し (suppressed breath). ふぅ, ふっ, うっ, はっ in small broken balloons. The character tries not to let the voice out, which reads as more erotic than silence. - 控えめ可愛い (restrained and cute). あっ♡, んあっ♡, ふぅ… in short repeated bursts. The rhythm change signals escalation. - 告白系 (confession type). すき repeated until it slurs into しゅき and だいしゅき. Affection words lose their shape as feeling overflows. - うめき系 (groaning). うッ…, ぐっ, ごぁッ. A voice like something is being crushed out of the body, borrowed from damage voices but read as erotic in this context. - 実況系 (live commentary). おぐっ, おぎぃ…, おごう♡. The character involuntarily reports size, position and her own weak points, such as そこダメぇ. - 濁点系 (voiced dakuten voices). おッ♡, おお゛…, あ〜ん゛. The voiced mark dirties the voice, and the dirtier the voice reads, the harder it hits. Subtypes are 抵抗系 (だめっ, やだ, mixed with honest reactions), とろけ系 (あ〜ん゛ stretched long, thought and strength gone), 突き上げ系 (おっ, おう, あんっ, forced out with each thrust, with ずぷっ sounds), 混乱系 (お!?, おえッ??, questions the head cannot process), ろれつ崩壊 (ちが…, まって, words that can no longer form an explanation), and 獣系 (オア〜, おがお, ンガオ, reason and shame gone, barking on instinct, strongest when the character is normally composed). - 快楽系 phrases (pleasure phrases). きもちい, which slurs to ギモヂィ at higher collapse, おかしくな (おかしくなる), しゅき, 壊れちゃ, もっと, もっと奥゛, もっと突いてぇ, ずぽずぽしてぇ, いっぱいしてぇ, ちょうだい. - 絶頂系 (climax voices). イく written with voiced and slurred forms such as イグぅ, イギだく…, いぐ…, イクイクいぐぃ, でちゃうゔ, も…イギだくないっ. - 拒絶系 (refusal voices). いやだ, こないで, だめ, やめて, 挿れちゃやだ, 抜い…. A separate category, only for refusal lines. Never mix into a line that expresses desire, because it reverses the meaning. ## Kiss sounds - 王道系. んっ, ちゃ. Simple and clean. - 吐息漏れ系. はぁ, ふっ, ちゅ, leaking between kisses. - 吸引系. じゅるるるっっ, long and clinging. - 粘着系. くちゃ, くちゃくちゃ, wet repeated sounds that fill the head. - キスの雨. ちゅ, ちゅっ, ちゅう scattered everywhere, quantity as affection. - 子犬系. はむっ, eager repeated pecks. - 銀の糸. A quiet りしゅ…, the lingering thread after lips part. - 熱烈系. おちゅう, んちゅう, breathless and refusing to let go. ## Semantic words (意味語) inside the voice Source: the category lists at https://nyk-sm.com/aegigoe/ (categories 通常, 濁点, 快楽, 絶頂, 抵抗), read on 2026-10-27. Between full dialogue and pure sound there is a layer of single words that still carry meaning. Sort them by speech act. - Feeling words. きもちい, 好き, しゅき, こわい. - Evaluation words. すご, やばい, ヤバっ, そこやばい, それ好きぃ. - Body state and live report words. おかしくな, おかしくなりゅ, 壊れちゃ, しぬぅ, しんじゃうぅ, こすれ、るぅ, なんか出ちゃ, でるっでるでちゃ, クる. - Climax words. The イク family, イく, イクッ, いっちゃうぅ, plus its resisting forms イきたくない, イクのむり, and the approach forms なんか、きちゃ. - Demand and desire words. もっと, もっとしてぇ, もっと奥, もっと突いてぇ, 突いて, ごんごん突いて, ちょうだい, ほしい, いっぱいしてぇ. - Pointing and correction words. そこ, そこじゃない, 奥, which direct the partner and double as live commentary. - Refusal and limit words. いや, いやだ, だめ, もうだめ, 奥だめ, やめて, ぬいて, 抜い…, こないで, おわって. - Plea and apology words. ごめんなさい, たすけて, 助け. - Confusion words. なに, なにこれ, ちがう, う…そ. - Every semantic word also has slurred forms that the generator lists beside the clean ones, such as 好き becoming しゅき, 気持ちいい becoming ぎもぢい, ダメ becoming らめ, イク becoming イグ, and 助けて becoming だずげでぇ. Meaning dissolves in stages, from sentence to word, from word to slurred word, from slurred word to pure sound. ## Balloon shapes as intensity markers - 楕円フキダシ and 四角フキダシ are normal speech. 波フキダシ wavers, 雲フキダシ is soft or dazed, 爆発フキダシ shouts, 電子音フキダシ is mechanical or transmitted voice, フラッシュフキダシ radiates, and ウニフラッシュフキダシ (black, spiked) is the maximum impact balloon. In plain text, rising slider levels move along this scale through repetition, voiced marks, hearts and broken words rather than through the balloon itself. ======================================================================== 第3部 付属語彙集B SE分類資料（ero-se） ======================================================================== # Onomatopoeia and Sound Effects (擬音語・SE), Classified by Type and by Use Sound effects are the second channel beside the voice. The voice reports how the character feels. The effects report what is physically happening. This file sorts the material two ways, first by type, meaning what makes the sound, and then by use, meaning what job the sound does in a scene. # Part A. By type ## A1. Mouth sounds that are not voice - Kiss. ちゅっ, ちゅう, ちゅぷっ, じゅるるる, くちゃくちゃ, with style families such as suction (じゅるる), sticky (くちゃ), breath leaking between kisses (はぁ, ふっ mixed in), puppy like repetition, and the pure single んっ with ちゃ. - Oral. ちゅぷっ, れろれろ, ジュルジュル, スポスポ, ちゅぱ, んぐっ, and saliva sounds such as とろぉ for the silver thread when lips part. - Swallowing. ごっくん, ごくっ, こくっ. ## A2. Contact sounds - Wet friction. くちゅ, ぐちゅ, ぬちゃ, ぬちゅ, こすれ sounds, the whole ちゅ family of small wet contacts. - Dry and hard slapping. ぱん, パンッ, パチン, パチ, パコ, パコパコ, パチュン. Angular in lettering, fast in tempo. - Caress, touching. さわさわ, すりすり, くねくね, もぞもぞ. - Caress, kneading and elasticity. もみもみ, むに, むにぃ, ぷに, ぽよん, ぷるん, ブルンッ, プリンッ, ほよん. Round lettering for soft things. ## A3. Coupling sounds - Opening. くぱぁ, くぱ, a small family between caress and insertion. - Insertion. ズブリ, ズブズブッ, ぬぷっ, ずぷっ, ブチュッ, グチョグチョ, ニュルニュル, and メリメリッ at the rough end. - Thrusting, wet families. ピチャピチャ, クチュクチュ, グチョングチョン, じゅぽじゅぽ, ぬちゃぬちゃ. Slow and deep in feel. - Thrusting, hard families. ズボズボ, パンパン, パコパコ. Fast and rough in feel. The family choice itself sets the tempo before any word is read. ## A4. Liquid sounds - Wetness and overflow. ぐちゅ, びちゃ, ヌルヌル, ドロドロ, だらだら, とろぉ, だらぁ for the trailing drip of afterglow. - Squirting. びちゃあ, ぷしゃあ, ぴしゃあ, しゃあぁ, ブシュー, プシャッ, ビシャッ. - Ejaculation, with variants. ごぶっ (ごぶんっ, ごぶぶっ, ごぼぉ), どぷっ (どくん, どくどく, どぴゅっ, どろっ, どぼぉ), びゅっ (びゅるっ, びゅんっ, びゅくっ, びゅぷっ, びゅるん), ドクドク, どぱっ. ## A5. Body reaction sounds and states - The tremble paradigm. Bases びく, ぴく, ひく, ぞく, ぶる, ふる, がく, each in five shapes, base, ん form (びくん), repeated form (びくびく), っ form (びくっ), ぅっ form (びくぅっ). - Tightening. きゅうう, きゅーっ, ぎちぎちっ, みちみちっ, ぐぅーっ. - Sparks before the eyes. ぱちぱち, ちかちか, きらきら, near climax. ## A6. Heartbeat and breath as effects - どきどき, どっどっどっ, きゅん, きゅうん, ぽっ, かあぁぁ, かーっ, and はぁはぁ when drawn outside the balloon as lettering rather than spoken. ## A7. Props and environment - Bed creaks ギシギシ, ギシッ, cloth sounds パサッ, バサッ, くしゃ, doors, water, room sounds. The ground bass under the scene. # Part B. By use ## B1. Live reporting of the situation - Effects narrate what the camera and the voice cannot, such as wetness, depth and whether contact is happening at all. When a high level voice dissolves into pure sound, the effects take over the reporting job entirely. ## B2. Measuring the amount of pleasure - First law of the column research. The number of effects in a panel is proportional to the absolute amount of pleasure in that panel. Density is a measurement, and raising the slider raises the count on purpose, past the guide of two to four per scene that fits calm levels. ## B3. Expressing the quality of pleasure - Second law. The shape of an effect expresses the quality of the act. Thick and voluminous lettering reads explosive, thin and vertically squashed lettering reads sweet and melting, stroke noise reproduces irregular sensations such as breath catching while sucking, and a family is a population of letterforms to choose a quality from, not a single fixed word. - In plain text the equivalents of lettering are family choice, dakuten, katakana, repetition length and character size implied by isolation and spacing. ## B4. Setting tempo and rhythm - Wet families slow a scene down, hard angular families speed it up. Effects placed at even intervals make a metronome, effects crowding together make acceleration, and a long trailing effect such as だらぁ makes deceleration and afterglow. ## B5. Visualising tension - Scatter the reaction and heartbeat families frequently in small sizes. The more small trembles on the page, the higher the visible tension, and these do not need strong variation. They are the background radiation of arousal. ## B6. Emphasising the showcase moment - The squirting, tightening and ejaculation families are showcase vocabulary, distinctive to climax scenes and learned by copying other artists. Emphasis tools are bold outlines, tone filled letters, and a small balloon whose tail points at the source of the sound. In plain text, isolate the effect on its own beat and repeat it rather than burying it inside a sentence. ## B7. Marking love and consent - A hand drawn heart after an effect raises the love feeling of the scene, the same marker role that ♡ plays after voices and on balloons. Even rough sounds read as consensual intimacy when hearted. ## B8. Mixing and variation - Mix hiragana and katakana, large and small, in tempo, exactly as with voices. Mixing two effects from the same group in one scene is allowed and good, such as ちゅっ and くちゅっ scattered through a kiss scene. Dakuten and a trailing っ add momentum and make an act look more violent, as in ちゅ becoming ぢゅぢゅーーーーっっ. # Part C. Escalation with the slider - Levels 0 to 2. Almost no effects, or one soft one per beat, clean hiragana forms only, such as ちゅっ or ぴくっ. - Levels 3 to 4. A few effects per scene from the matching families, first katakana mixed in, hearts appear. - Levels 5 to 6. Effects at every beat, dakuten forms in rotation (ぐちゅ, グチョ), reaction scatters begin, tempo set by family choice. - Levels 7 to 8. Dense effects, mixed groups, showcase families warming up, reaction and heartbeat scatters thick. - Levels 9 to 10. Effects crowd the text and may outnumber the voice, forced forms and long repetitions, showcase effects isolated and repeated. The voice is broken, so the effects carry the scene. # Part D. By play, which sounds fit which act Each entry gives the sounds that fit, how to choose inside the family, and the mismatch to avoid. The rule throughout is that the sound must be physically possible for the act at that speed and wetness. ## Kiss - Light and pure. んっ, ちゃ, ちゅっ, single small sounds with space between them. The sound is small because the kiss is small. - Deep. じゅるるる for suction, くちゃくちゃ for sticky repetition, breath sounds はぁ and ふっ leaking between, とろぉ for the saliva thread when lips part. A deep kiss scene mixes two families from the same group, such as ちゅっ scattered among じゅるる. - Mismatch. Hard slapping families or piston families. A kiss has no impact sound. ## Licking - れろ, れろれろ, ぺろ, ぴちゃ, ぺちゃ, ねろ, and wet smearing sounds such as ぬち, べと. Slow tongue work takes long flat forms (れろぉ), teasing takes short repeated ones (ぺろぺろ). - For cunnilingus add the wet friction family くちゅ and ぐちゅ as the second layer, because the contact is wetter than a plain lick. - Mismatch. Suction sounds when nothing is being sucked, and any dry family once the scene is established as wet. ## Sucking - じゅっ, じゅぞっ, じゅるるっ, ちゅうう, ちゅーっ, スポッ when it releases. Stroke noise in the lettering reproduces the random catching of lips and breath, so irregular forms beat regular ones. - Nipple sucking pairs the suction family with the partner's small reaction scatters ぴくっ, because the effect's job there is focus, radiating attention to one point, as in the column example. - Mismatch. Even metronome repetition. Real suction is irregular, and regular lettering reads mechanical. ## Fellatio - じゅぽ, じゅぽじゅぽ, ジュルジュル, ちゅぱ, くぱ when the mouth opens, んぐっ and ごぶっ at the deep end, れろ for tongue only moments. Depth is told by the family, shallow is ちゅぱ and れろ, deep is んぐっ and ジュル, and the gagging border is ごぶっ and おえ系 voices, used sparingly. - Mismatch. Piston impact sounds such as パン. The mouth makes no slapping sound, and ズボ belongs to thrusting with hips, not to oral. ## Hand and caress play - Touching takes さわさわ and すりすり, kneading takes もみ, むに and ぷに, breast play adds ぽよん and ぷるん for elasticity, and a handjob takes しゅっ, コスコス, にぎにぎ and the wet family once fluids arrive. Grip changes are told by ぎゅっ and にぎっ. - Mismatch. Liquid showcase families before any fluid exists in the scene. ## Insertion - One event, one sound, chosen by resistance and wetness. Wet and easy is ぬぷっ, deep and full is ズブッ or ズボッ, tight or rough is メリメリッ or ぐぐぐ, and the moment before takes くぱぁ for opening. A slow insertion draws the sound long (ぬぷぅ), a sudden one cuts it short (ズバッ). - Mismatch. A repeated family. Insertion happens once per entry, so repetition belongs to the thrusting that follows, and starting the piston family before entry reads as a continuity error. ## Piston and thrusting - Slow and deep. じゅぽ, グチョ, グチョン, ぬちゃ, ground out with ぐりぐり for grinding at depth. Long forms, wet families, space between beats. - Fast. ズボズボ, パンパン, パコパコ, ピチャピチャ. Short forms, hard or splashing families, beats crowding together as speed rises. - Deep thrust accents. A single ドンッ, ずんっ or ガッ at the deepest point inside the rhythm, the impact the regular family cannot express. - Mismatch. A wet slow family under a described fast rough action, or the reverse. Family and described physics must agree, which is B3 applied to acts. ## Tightening - きゅうう, きゅーっ, ぎちぎちっ, みちみちっ, ぐぅーっ, placed at the moment of tightening rather than repeated as rhythm. The partner's reaction scatter びくっ or a caught breath is the pair that proves the tightening landed. - Mismatch. Treating tightening as a continuous sound. It is an event and a state, told by one strong form plus the sustained state words ぎちぎち around it. ## Ejaculation and squirting, the showcase acts - Ejaculation takes the ごぶっ, どぷっ and びゅっ families with variants, repeated for each pulse (the column counted some fourteen びゅる in one scene), thick forms for explosive, thin melting forms for sweet and drained. Internal ejaculation leans on どくどく and ごぶっ plus the receiving side's tightening and reaction sounds, because the event itself is not visible. - Squirting takes びちゃあ, ぷしゃあ, しゃあぁ and the spray lettering プシャッ, ビシャッ, arcing in placement in art and isolated on their own beat in text. - Mismatch. Small quiet forms at the climax the scene has been building to. Showcase moments take showcase vocabulary, per B6. ## Spanking and impact play - ペチン for a light slap, パンッ and パチン for a full one, with the reaction paradigm びくっ answering each hit. Rhythm is the meaning here, so keep the family pure and let spacing do the work. # Part E. Additions from the Eroctionary (淫語辞典 §27 擬音・擬態表現・音) Families collected in the Eroctionary's onomatopoeia section that the earlier charts did not stock. File them under the Part A types and Part D plays as noted; the standard operations (repetition, dakuten, katakana) apply as usual. ## E1. Deep wet coupling, the ぐぽ and ぬぷ families (A3, insertion and piston, deep and wet) ぐぽぐぽ, ぐぷぐぷ, ぐじゅぐじゅ, くぷくぷ, くちゅん, ぐちゅんぐちゅん, ずっぽずっぽ, ずぶずぶ, ずっぷん, どちゅどちゅ, ぬぷぬぷ, ぬちょぬちょ, ぬりゅぬりゅ, ぶちゅんぶちゅん. Heavier and wetter than the じゅぽ family; use when depth and fluid volume matter more than speed. ## E2. Rubbing and grinding contact (A2, caress and grinding) ぐりぐり, ぐりゅぐりゅ, ごりごり, ごちゅっごちゅ, すこすこ, ずんずん, にゅこにゅこ, にゅくにゅく, ぱちゅぱちゅ, ばちゅばちゅ. The にゅこ family is soft and slow, for shallow or teasing movement; ごりごり is hard friction against a ridge. ## E3. Soft melting variants (A4, liquid, gentle register) とぷとぷ, とくとく beside the どぷ/どく families. Same physics, one register lower: slow, thick, melting rather than bursting. Use for gentle internal ejaculation or overflowing fluid when the scene's tone is sweet rather than violent. ## E4. Mouth and swallowing water sounds (A1, fellatio and drinking) くぴくぴ, ごきゅごきゅ, ごくごく, ゴックン, コポポ, ゴボボ, ちゅくちゅく, ちゅこちゅこ, じゅぷぷ. Throat and swallowing sounds that Part D's fellatio ladder can draw on at the deep end, where the mouth itself makes no slapping sound. # Sources - The gist aegigoe_skills.md by kgmkm, act based onomatopoeia families. - The study chart エロ漫画における擬音表現に関する研究2, shared as an image, for the reaction paradigm, the heartbeat and tightening families, and the technique rules. - 新野安, エロマンガの読み方, on the quantity and quality of onomatopoeia, at https://ikinukitei.fanza.jp/article/14237/. - Six four quadrant hand lettering practice sheets from the pixiv material works, shared as images, for family lexicons and lettering textures. - The Eroctionary (淫語辞典, seesaawiki.jp/eroctionary), section 27 on onomatopoeia and sound, for the Part E families, supplied as text by the user on 2026-10-27.