Open Pussy until the end of time
zoom into Hikari Sawami for videos
Hikari Sawami : picture number 375466
Hikari Sawami
next picture
 
members only !
signup now - cheap
Osaka Girls Japanese uncensored videos featuring Hikari Sawami
Hikari Sawami is a japanese av idol born in Tokyo on 15 1 1983. Her blood type is A, and she is 162 cm tall, Hikari's body measurements being: Breast: 83 , Waist: 59 , Hips: 89.

Hikari Sawami in photo 375466

Bio :: Profile
Full NameHikari Sawami
Nickname
Country CodeJP
City / StateTokyo
Birth Datey: [1983] m: [1] d: [15]
Blood TypeA
Height (cm)550
Measurements (cm)B: [83] W: [59] H: [89]

Hiyori Shiraishi uncensored
All Videos
Navigation
Top levelhot women
Full categoryav idol
Hikari Sawami Galleries
16 Photos
high-res gallery medium-res gallery japanese gallery

Picture :: Rating
votes: bad / good
4 4 bad ratings 6 good ratings 6
votes: total
10 total ratings 10
rate this pic:
   

Picture :: Properties
Dimensions370 x 550
Size (kb)19
Typejpg


categorize pic:

sexual fantasy story of Hikari Sawami :
r. This is a big mistake, but it's one anybody starting out on this kind of work could make. Let me explain what I mean. Assuming the computer is female, you can't state arbitrarily that certain keys stand for certain parts of her body, like the plus key for a kiss or the asterisk for a love-bite. If you follow that logic, you'll end up with the left and right shift keys for 's breasts, the Alts for her buttocks, maybe the Control for 's clitoris, something dumb like that. I don't even want to talk about what the Insert and Enter keys would be. This is positively stupid, just in computer terms and not even talking sexually, and I'll tell you why in a minute. For a while I thought I could solve all this with the twelve function keys multiplied to 48 separate possibilities with the Shift, Alt, and Control keys. But I ended up realizing that I'd just have to throw the whole keyboard away. AND THAT'S WHAT I AM DOING!!! There is no other realistic possibility. This is because sex cannot be pictured as a purely input set of routines, you have to think of output as well, of what the other person--here a computer--is doing to you while you are doing things to her/it, and how they both affect each other and lead on to the next thing they both do separately. In