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Kitan Club

December 1962

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Cover of Kitan Club, December 1962

Issue Details

Volume
16
Issue
11
PDF pages
189

Summary

The December 1962 issue of Kitan Club combines rope-bondage photography, fetish illustration, historical and psychological essays, confessional writing, serialized fiction, film commentary, reader contributions, and extensive community-oriented back matter. The issue opens with advertisements and a formal contents page, followed by a long sequence of gravure photographs. These portfolios emphasize cloth gags, upper-body bindings, kneeling and seated postures, compact floor ties, and the visual contrast between rope, skin, patterned fabric, and domestic interiors. Interspersed illustrations broaden the repertoire into imagined punishment scenes involving restraints, chains, forced procedures, female ritual suicide, corporal discipline, and fetishized objects.

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The principal prose section begins with Arai Tamotsu’s illustrated discussion of the conception and visual design of cigarette torture. The article treats smoking as both an instrument of domination and a compositional element in fetish art. Tsukiji Ichirō’s research feature on the deaths and severed heads of female warriors then examines historical and legendary accounts of women facing execution, decapitation, ritualized defeat, and the aesthetic treatment of the severed head. Tsukamoto Tetsuzō’s account of an actual bondage-photo session shifts from historical speculation to documentary narration, describing correspondence with a married female reader, preparations, travel, posing, rope application, photography, and the participant’s reactions.

The middle of the issue moves through confession, psychology, fiction, travel fantasy, medicalized fetishism, and theatrical role-play. A first-person essay on fascination with cross-dressing considers clothing, gender presentation, secrecy, and marital life. Other contributions discuss narcissism, married-couple SM play, sadistic female behavior, enemas and nursing scenarios, and imagined encounters in foreign or speculative settings. The recurring serial “Woman and Snake” and the long SM novel “Somewhere in the Universe” provide extended fictional anchors, while shorter dialogue pieces and experiential essays create frequent changes in tone and format.

The later section contains tattoo-centered confession, commentary on the film Harakiri, essays imagining female abdominal cutting, a discussion of women’s intimate garments, a mountain-villa narrative, and an examination of abnormality in film. A bondage calendar feature presents the motif of “a woman for each month,” and the final substantial fiction, “The Man Possessed by Glass,” carries the literary material into the closing pages. Reader letters, response columns, questionnaires, classified exchanges, editorial notices, tables, and publication information conclude the issue, demonstrating the magazine’s role as a network through which readers shared fantasies, experiences, criticism, requests, and personal contacts.

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Table of Contents 34 items
  1. First Gravure: Rope-Bondage Studies
    6–13
  2. The Kokeshi Cage by Shima Takashi
    14
  3. Human-Ginseng Gag by Shima Takashi
    15
  4. Suspension Punishment by Shima Takashi
    16
  5. The Female Bandit’s Seppuku by Taki Reiko
    17
  6. Punishment of the Soles by Taki Reiko
    18
  7. Enema and Diaper by Shima Takashi
    19
  8. Water from a Rubber Boot by Shima Takashi
    20
  9. Baby Car by Shima Takashi
    21
  10. Second Gravure: Kneeling and Floor-Bondage Studies
    22–29
  11. The Conception and Ideas of Cigarette Torture by Arai Tamotsu
    34–37
  12. The Deaths and Severed Heads of Female Warriors by Tsukiji Ichirō
    38–47
  13. The Reality of Bondage Photography: Using a Young Wife as a Model by Tsukamoto Tetsuzō
    48–53
  14. Confession: Enchanted by Women’s Clothing by Kuchiki Hiroshi
    54–59
  15. Unfinished Confession: A Preface to My Narcissism by Hata Kōichi
    60–63
  16. Correspondence: A Married Couple’s SM Play by Shingū Akio
    64–65
  17. Thirty-Ninth Night Tales: Twentieth Night by Tsujimura Takashi
    66–79
  18. Caterina Sart: An Incident of Cruelty by Katsura Keiichi
    80–81
  19. A Reader’s Account: Record of a Sadistic Woman by Hari'i Mika
    82–87
  20. Exploring the Land of Slaves: A Visit to Sardinia by Arutame Mataji
    88–95
  21. Behind-the-Scenes Stories about Enemas: A Conversation with a Nurse by Yamagishi Misao
    96–99
  22. Woman and Snake, Part 3 by Hanamaki Sōtarō
    100–110
  23. SM Dialogue: Theatrical Rehearsal by Nakano Jirō
    111–113
  24. Somewhere in the Universe by Saji Mazō
    114–131
  25. Photo Essay: The Scent of M by Ōtsuka Keiko
    132–135
  26. Prize Confession: Longing for Tattoos by Miyajima Kane
    136–141
  27. Film Commentary: On Harakiri by Watanabe Kaname
    142–143
  28. Conceptions of Female Seppuku: An Insurance Solicitor’s Abdominal Cutting by Sudō Ritsuo
    144–145
  29. Thoughts on Manga Art: Observations on Women’s Intimate Garments by Tajima Naoshi
    146–147
  30. At a Deep Mountain Villa by Saitō Isao
    148–153
  31. The World of Abnormality as Seen in Film by Nakahara Isao
    154–157
  32. Bondage Calendar: A Woman for Each Month by Nakanishi Kin
    158–171
  33. The Man Possessed by Glass by Futaki Yoshio
    172–176
  34. Reader Correspondence and Closing Departments
    177–192

Highlights

  • The opening gravure sequence presents multiple models in cloth gags and upper-body rope bindings, using kneeling, seated, standing, and floor-bound positions. (PDF pp. 6–13).
  • A gallery of fetish illustrations depicts chained gagging, coerced stretching, corporal punishment, female seppuku, enema scenarios, and forced drinking from a rubber boot. (PDF pp. 14–21).
  • A second photographic portfolio studies torso harnesses, kneeling restraint, compact arm ties, folded-leg positions, and close views of rope compression. (PDF pp. 22–29).
  • “The Conception and Ideas of Cigarette Torture” combines personal commentary with drawings of bound women forced to smoke in several staged configurations. (PDF pp. 31–34).
  • “The Deaths and Severed Heads of Female Warriors” surveys the historical, legendary, and aesthetic treatment of women killed or decapitated in battle and ritualized contests. (PDF pp. 35–44).
  • “The Reality of Bondage Photography” narrates the planning and execution of a session with a married female participant, combining correspondence, travel, posing, and documentary photographs. (PDF pp. 45–50).
  • The central prose section combines confession, couple-oriented SM discussion, psychological commentary, travel fantasy, medical fetish material, and recurring serialized fiction. (PDF pp. 51–138).
  • The late issue includes tattoo confession, film commentary on Harakiri, imagined female seppuku scenarios, and an essay on women’s intimate garments. (PDF pp. 133–150).
  • The closing literary sequence includes abnormality in cinema, a bondage-calendar concept, and the fiction “The Man Possessed by Glass.” (PDF pp. 151–173).
  • Reader correspondence, questionnaires, classified exchanges, editorial responses, notices, tabular information, and publication details form the concluding community section. (PDF pp. 174–189).

Contributors

Named contributors represented in this issue:

Kinbaku Today is an independent online journal dedicated to the study, practice, and cultural history of Japanese rope bondage. Blending essays, translations, interviews, and archival research, it explores kinbaku not simply as technique, but as a living dialogue between history, performance, and human connection.
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