Kitan Club

The opening section is dominated by the photographic feature White Pig Just Arrived, photographed by Tsukamoto Tetsuzo. A succession of women are shown in rope bondage, gagging, suspension, and floor poses, with individual captions stressing bodily posture, shame, restraint, and voluptuousness. The portfolio shifts between monochrome and color photography and establishes the issue’s pronounced documentary studio aesthetic before the text-heavy portion begins.

The principal early feature is Tsukamoto Tetsuzo’s camera-and-pen reportage The Woman Who Wants to Become a Beast, subtitled as a diary of the training and keeping of the female pig Yamaguchi Tsuyako. Developed across more than forty printed pages, it combines first-person narrative, correspondence, travel, and staged SM encounters with extensive photographic documentation. The report follows the author’s exchanges with its female subject, meetings and journeys, and escalating bondage scenarios, giving it the character of an extended documentary performance diary rather than a conventional short article. This is followed by Kitagawa Mariko’s response to imagery associated with Suzaki Akira, the pastiche Machiko, Chiba Aooni’s long-running serial Great Eruption, and the tenth installment of the M Group work Female Captive.

The middle portion broadens from fiction toward technique and aesthetics. Takahashi Hideki discusses the appeal of bridal furisode bondage play, Niikawa Hiroo continues his commentary on the sarugutsuwa gag, and Sugitani Junji contributes a diary of newlywed erotic life. The period SM novel The Gate of Shiran continues in its forty-first installment. The Aesthetics of Bondage by Roman-ha Sei combines commentary with photographs of posed restraint and explicitly treats tying as an aesthetic subject. Oniyama Kosaku’s Masochism and Wages, part fifty-seven of the M-school social record, continues the magazine’s quasi-sociological exploration of masochistic identity and everyday life.

The later portion moves into international and comparative material. Haseda Kameji’s Hawaii travelogue discusses Deep Throat and American pornography, including observations on commercial adult entertainment culture. Omatsu Hirahiko’s second Women’s Sumo Notebook examines female wrestling through historical and erotic-cultural frames, accompanied by drawings. Mizue Shin’s A Parade Dedicated to Fukada Kikuko closes the available sequence with an illustrated tribute centered on Fukada and related SM imagery. Across these sections, the issue repeatedly joins rope bondage, fetishized bodily display, masochistic self-description, serialized fantasy, documentary photography, and reader-community discourse into the hybrid editorial form characteristic of Kitan Club.