If one claims that all pornographic works are merely the consumption of the body, then the existence of tentacle films itself serves as an allegorical rebellion against the "structure of desire." In the work STEN-001, Momoka Kato is placed in a highly ordered and normative setting like "school / student council," only to gradually break down due to the intrusion of tentacles. This is not merely a spectacle of eroticism but an allegorical drama about how order is eroded by heterogeneous forces. In Japanese culture, the school often symbolizes a boundary of innocence and norms, while the "student council" further represents the core of discipline, organization, and power. By setting the story in such a stage, the work implicitly suggests that the norms of human society are forever just temporary illusions; once a heterogeneous "desire" invades, these systems will collapse. This structural contrast almost corresponds to what Foucault described: "Power is not concentrated at the top but distributed in every minute power relation"—each entanglement of the tentacles is a dismantling of the power structure. The symbolic status of tentacles in erotic culture is quite unique. It is neither human nor beast, completely breaking away from traditional gender roles. It represents a "depersonalized desire," separating desire from reproductive organs and making desire itself the subject. This forces viewers to confront a question: What are we truly afraid of—the act of sex, or sex itself? Momoka Kato's body, in this process, becomes a "theater for the display of desire." Her trembling, struggling, and breakdown are not just erotic performances but a philosophical experiment of "the complete objectification of the body." As Slavoj Žižek once said when discussing the Alien series: Monsters are not external threats but distorted projections of our own desires. When audiences watch such works, they often experience two opposing emotions simultaneously: on one hand, fear of domination, and on the other, an undeniable excitement. This is precisely the so-called "game of ethical boundaries." This contradictory state corresponds exactly to what Kant discussed in the Critique of Judgment as the "sublime" (das Erhabene): Our fear of immense forces, when reason cannot fully tame them, instead produces a strange pleasure. The essence of tentacle films lies precisely in transforming this "sublime" into an erotic experience. Momoka Kato's performance should not be seen merely as "cooperation." The subtle expressions she displays on camera, from initial resistance to gradually wavering between fear and pleasure, make this transformation process the soul of the work. What she interprets is not just a single victim but "the psychological struggle of a person under extreme power structures." This style of performance allows her to merge with the character, becoming the bearer of the allegory of desire. "Tentacle School: The Student Council Fallen to Tentacles" is not just pornography but an allegory about "how the body is redefined in the intersection of power, desire, and ethics." The tentacles are both external monsters and inner mirrors. Just as Kafka in The Metamorphosis turns the protagonist into an insect to expose the absurdity of humanity and society, this work similarly uses alien desires to completely tear apart the superficial order and purity of human society. Finally, borrowing a quote from Nietzsche as a conclusion: "He who fights with monsters should see to it that he himself does not become a monster." And tentacle films are precisely the mirror stage where we engage in close combat with our own "monster of desire" in the abyss of desire.