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Uramado

December 1964

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Cover of Uramado, December 1964

Issue Details

Volume
9
Issue
12
PDF pages
212

Summary

The December 1964 issue of Uramado combines fiction, criticism, film commentary, illustrated serials, reader-oriented columns, and photographic material in the eclectic style characteristic of the magazine. The issue opens with a formal illustrated contents spread and quickly moves into Hara Tadamasa’s Three-Sided News Is Fun, a discursive essay on sensational news, crime, sexuality, and the pleasures of observing the stranger corners of contemporary society. This is followed by several substantial works of fiction, including Shōnai Yūji’s Wheel of Karma, Teddy Minekawa’s Madge’s Villa, Mitsutani Tōho’s Among the Flowers, Matsuyama Shōichi’s The Cage, Ushio Kazuki’s House of Hellfire, and Nangō Kyōsuke’s long Island of Death. Together they range across erotic obsession, imprisonment, coercion, crime, violence, and psychologically charged interpersonal relationships.

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Critical and documentary material repeatedly interrupts the fiction. Andō Izumi’s Truth Behind the Mask examines erotic literature and questions of representation, while Morimoto Aizō’s ninth installment of Prayer to the Arrogant Goddess continues a recurring column. Fujimi Iku contributes a discussion of Alfred Hitchcock’s Marnie, linking international cinema to the magazine’s interest in fetishism, sexuality, psychological disturbance, and female deviance. Morishita Takashige’s From My Collection, Part 2 turns to historical and foreign imagery, reproducing photographs, illustrations, and popular-print material concerned with women, costume, domination, and punishment. A long illustrated serial, Scoliosis Girls’ Academy, provides one of the issue’s most visually elaborate fictional sequences, with repeated depictions of institutionalized discipline and elaborate restraint devices.

The later portion remains substantial rather than becoming merely advertising or filler. SM Film Review Notes combines commentary with film stills; Segawa Miki’s Ecology of a Slave, Part 2 presents an illustrated account of punishment and submission; Toyonaka Yumeo’s Uramado Tsuntsun-bushi supplies a lighter column-like change in tone; and Hara Tadamasa’s discussion of Marnie is followed by the community-oriented Uramado Town. The final installment of Ama Tetsurō’s Gordon’s Memories then returns to extended illustrated fiction before the reader correspondence pages and editorial postscript close the textual magazine.

The issue’s editorial identity depends on this constant movement between fantasy and commentary. Japanese erotic fiction sits beside American and European cultural material, cinema, crime discourse, historical imagery, humor, reader participation, and visual representations of bondage and punishment. The closing unpaginated photographic leaves extend this visual emphasis beyond the formal editorial ending, making the issue both a literary magazine and a dense archive of mid-1960s Japanese SM visual culture.

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Table of Contents 19 items
  1. Three-Sided News Is Fun by Hara Tadamasa
    12
  2. Wheel of Karma by Shōnai Yūji
    18
  3. Truth Behind the Mask by Andō Izumi
    26
  4. Madge's Villa by Teddy Minekawa
    34
  5. Among the Flowers by Mitsutani Tōho
    40
  6. The Cage by Matsuyama Shōichi
    48
  7. Prayer to the Arrogant Goddess, Part 9 by Morimoto Aizō
    62
  8. House of Hellfire by Ushio Kazuki
    70
  9. Island of Death by Nangō Kyōsuke
    82
  10. From My Collection, Part 2 by Morishita Takashige
    107
  11. Scoliosis Girls' Academy by Harukawa Mitsuhiko
    126
  12. Comprehensive Index of Previous Issues
    144
  13. SM Film Review Notes by Fujimi Iku
    152
  14. Ecology of a Slave, Part 2 by Segawa Miki
    162
  15. Uramado Tsuntsun-bushi by Toyonaka Yumeo
    170
  16. About the Film Marnie by Hara Tadamasa
    179
  17. Uramado Town
    184
  18. Gordon's Memories, Part 21 by Ama Tetsurō
    194
  19. Reader Corner and Editorial Postscript
    208

Highlights

  • The illustrated contents spread establishes the issue's unusually broad mixture of fiction, criticism, cinema, recurring columns, visual collections, reader material, and serialized works. (PDF pp. 4–5).
  • Three-Sided News Is Fun uses sensational news and crime reporting as a point of departure for discussing abnormality, sexuality, public curiosity, and the appeal of incidents outside ordinary social life. (PDF pp. 8–13).
  • Island of Death is the issue's largest early fictional centerpiece, running for roughly twenty-five PDF pages and combining crime-adventure plotting with captivity, danger, coercion, and extensive illustrations. (PDF pp. 78–102).
  • From My Collection, Part 2 reproduces and discusses foreign photographs, drawings, popular illustrations, costume imagery, and scenes of female domination and punishment, providing evidence of the magazine's international visual source culture. (PDF pp. 103–110).
  • Scoliosis Girls' Academy is a lengthy illustrated serial built around institutional discipline, fetishized medical and corrective imagery, bondage, and increasingly elaborate restraint apparatus. (PDF pp. 122–139).
  • The comprehensive back-issue index documents Uramado's earlier publication history and provides titles and contributors across numerous preceding issues. (PDF pp. 140–147).
  • SM Film Review Notes combines commentary with film stills and continues the magazine's practice of interpreting commercial cinema through an SM-oriented critical lens. (PDF pp. 148–155).
  • Ecology of a Slave, Part 2 presents an illustrated narrative of a woman's punishment and submission, explicitly framing the sequence as a continuing study of a slave's life. (PDF pp. 158–165).
  • The later Uramado Town and Gordon's Memories sections preserve the issue's combination of community-oriented miscellany and extended illustrated fiction well into the closing pages. (PDF pp. 182–205).
  • Reader correspondence and the editorial postscript conclude the numbered editorial material, after which four photographic leaves provide an unpaginated visual coda. (PDF pp. 206–212).

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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