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Specialty S&M

January 1981

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Cover of Specialty S&M, January 1981

Issue Details

Volume
4
Issue
1
PDF pages
170

Summary

Specially S&M No. 15, the January 1981 New Year issue, combines staged erotic photography, autobiographical fetish testimony, marital SM narratives, serialized fiction, practical bondage instruction, reader correspondence, and community-oriented back matter. Its opening color pages establish the magazine’s visual vocabulary through bondage, humiliation, shaving, pregnancy imagery, suspension, and posed scenes of domination. Yamaguchi Tsubaki’s illustrated Yōbaku Mōrō Ezu then shifts from photography to graphic fantasy before the issue’s formal contents pages introduce the longer prose and photographic features that dominate the remainder of the magazine.

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The main body begins with Tsutsumi Misao’s My Half-Life of Diaper Obsession, a first-person account organized around a persistent diaper fetish and its relationship to the author’s sexual development. Niwa Kenichirō’s The Day I Punished Madame Keiko expands into a lengthy account of punishment, domination, equipment, and ideas about submission. Fujimoto Daisaku’s Reiko in Training continues the training motif, while Matsuzaka Kazumasa’s Sadistic Journey: My Life of Love and Torment with My Wife places increasingly elaborate SM activity within marriage. The Yuga Photo Gallery feature Young Wife’s Honey Flame follows as a substantial monochrome photographic sequence, reinforcing the issue’s movement between claimed personal experience and staged visual fantasy.

Later sections broaden the magazine’s range. Sailor-costume bondage photographs and the reader-submitted Bound Female Prisoner feature precede Akima Tōko’s serialized novel Momoko, Part Three. Shirakawa Sō’s Practical Rope-Bondage Techniques, Part Two is one of the issue’s most important technical features, using sequential photographs to demonstrate tachibishinawa and honnawa patterns while discussing placement, tightening, balance, bodily movement, and the practical behavior of rope. Continued: To My Master presents Miyoko’s correspondence as an intimate submissive confession, while Ōsawa Rie’s Traveler in the Forest of Bondage frames SM as a personal journey of discovery and experimentation.

The final third remains unusually rich rather than tapering into incidental back matter. Takizawa Fumiyoshi introduces his wife Tamiko in a reader-submitted marital memoir, and Tajima Yoshio’s Awakening to Couples’ Play describes the gradual incorporation of domination and restraint into married life. Shima Shikō’s Tomoko Training Travel Record: The Flame-Bound Girl Who Burned in Naniwa follows a training trip to Osaka and describes specialized hotel rooms, equipment, bondage, and role-play. An unnumbered Yuga Salon submission form is followed by six pages of Reader Correspondence, where readers discuss photographs, techniques, preferences, and their own experience. Yuga Salon then provides another community exchange space with letters and submitted photographs. The closing Shūsei Saibun page functions as an editorial afterword, reflecting on the magazine, its readership, and the place of SM publishing while also carrying the issue’s publication information.

Taken as a whole, the issue presents SM as a participatory subculture rather than merely a fantasy genre. Technique, fiction, domestic partnership, reader testimony, photography, correspondence, and editorial community-building continually overlap. Its mixture of instructional rope work, first-person confession, marital experimentation, and reader exchange makes it a particularly useful record of the social and editorial ecology of Japanese SM publishing at the beginning of the 1980s.

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Table of Contents 24 items
  1. Opening Color Pages
    3–10
  2. Two Suspension-Torment Poses
    10
  3. Pregnant Belly Exposure
    9
  4. Beautiful Face Play
    6–7
  5. Fantasy Abuse
    4–5
  6. Humiliating Shaving
    3
  7. Yōbaku Mōrō Ezu by Yamaguchi Tsubaki
    12–15
  8. Yuga Photo Gallery: Young Wife's Honey Flame
    58–65
  9. My Half-Life of Diaper Obsession by Tsutsumi Misao
    16–27
  10. The Day I Punished Madame Keiko by Niwa Kenichirō
    28–45
  11. Reiko in Training by Fujimoto Daisaku
    46–50
  12. Sadistic Journey: My Life of Love and Torment with My Wife by Matsuzaka Kazumasa
    51–55
  13. My Diaper Playmate by Tsutsumi Misao
    80–85
  14. Bound Female Prisoner by Shikoku Sadosei
    86–91
  15. Momoko, Part Three by Akima Tōko
    90–104
  16. Practical Rope-Bondage Techniques, Part Two by Shirakawa Sō
    105–115
  17. Continued: To My Master: Letters from Miyoko by Takizawa Miyoko
    116–123
  18. Traveler in the Forest of Bondage by Ōsawa Rie
    124–135
  19. Introducing My Wife-Slave, Tamiko by Takizawa Fumiyoshi
    136–138
  20. Awakening to Couples' Play by Tajima Yoshio
    139–141
  21. Tomoko Training Travel Record: The Flame-Bound Girl Who Burned in Naniwa by Shima Shikō
    142–154
  22. Reader Correspondence
    156–161
  23. Yuga Salon
    162–167
  24. Shūsei Saibun by Yamaguchi Akito
    168

Highlights

  • The opening color portfolio establishes the issue's visual program through staged bondage, humiliation, shaving, pregnancy imagery, suspension, and related SM scenarios. (PDF pp. 3–10).
  • Yamaguchi Tsubaki's Yōbaku Mōrō Ezu provides an illustrated fantasy sequence that contrasts with the photographic material surrounding it. (PDF pp. 12–15).
  • My Half-Life of Diaper Obsession is an unusually extended autobiographical fetish narrative in which the writer traces a persistent diaper fixation through his sexual life. (PDF pp. 18–29).
  • The Day I Punished Madame Keiko is a long-form domination narrative combining punishment scenes with reflection on equipment, sexual roles, and the author's understanding of SM. (PDF pp. 30–47).
  • Sadistic Journey: My Life of Love and Torment with My Wife presents SM experimentation as part of an evolving marriage rather than as an anonymous or purely fictional encounter. (PDF pp. 53–57).
  • The Yuga Photo Gallery feature Young Wife's Honey Flame forms a substantial monochrome sequence centered on restraint, domestic staging, exposure, and humiliation. (PDF pp. 58–65).
  • Akima Tōko's Momoko, Part Three is the issue's major serialized-fiction installment and occupies a substantial prose section immediately before the practical rope feature. (PDF pp. 92–106).
  • Shirakawa Sō's Practical Rope-Bondage Techniques, Part Two uses sequential photographs to demonstrate tachibishinawa and honnawa, with attention to rope placement, symmetry, tension, and movement. (PDF pp. 107–117).
  • Shima Shikō's Tomoko Training Travel Record follows a couple's SM trip to Osaka and documents a specially equipped hotel environment, specialized furniture, restraint equipment, and structured play. (PDF pp. 144–156).
  • Reader Correspondence and Yuga Salon close the issue with letters, photographs, requests for exchange, reactions to earlier issues, and discussion among readers, making the participatory character of the magazine particularly visible. (PDF pp. 158–169).

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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