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Kitan Club

June 1962

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Cover of Kitan Club, June 1962

Issue Details

Volume
16
Issue
6
PDF pages
126

Summary

The June 1962 issue of Kitan Club combines a substantial opening visual section with serialized fiction, adapted stories, personal testimony, cultural commentary, and shorter reader-oriented contributions. Its editorial identity centers on bondage, punishment, submission, bodily endurance, and psychological domination, approached through staged photography, commissioned illustration, crime and suspense fiction, confessional writing, historical fantasy, and commentary on sadomasochistic imagery in cinema and popular culture.

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The issue opens with an illustrated contents spread and a long sequence of pictorial features. These range from drawn scenes of restraint and punishment to staged photographic portfolios employing rope, chains, gags, implements, and hierarchical role-play. Several sequences are constructed as miniature narratives rather than isolated images, including Wet Statue, Beauty Between the Boards, Writhing Toward the Black Serpent, The Process of Ebi-zeme Play, The Chains of Imprisonment, I Do Not Want to Go Over There, The Whipped Woman, Fantasy of Female Seppuku, and Happy Enslavement. The visual material alternates between theatrical tableaux, domestic interiors, historical costume, and modern studio settings.

The principal prose section begins with Setsushun Haruka’s The Naked Corpse, a crime-inflected story involving journalists, business intrigue, abduction, captivity, and elaborately staged punishment. It is followed by Matsumoto Sachiko’s first-person My Experience, a confessional account organized around an intimate female relationship and the narrator’s developing awareness of masochistic desire. Nishida Jin’s The Iron Finger shifts to an overseas-set pulp adventure involving a Japanese protagonist, violence, coercion, and encounters shaped by colonial and military circumstances.

Later contributions broaden the issue’s register. Yoshida Kazuo surveys cruel or punitive scenes in motion pictures, while Kondo Kageichi’s Akemi, Writhing in Agony adopts a more intimate fictional mode. Ito Etsuyo’s A Strange Tale of Mourning Love and Maki Takashi’s A Wife’s Account move between historical melodrama, domestic confession, and punishment narratives. Saji Kumazo’s Somewhere in the Universe introduces speculative-fiction elements, contrasting with Minakata Yoshio’s essay on legs and sadism and Toyama Kazuhiko’s Impure Sacred Object. The final major fiction, Kashii Takahiko’s The Banquet of Pan, develops an extended fantasy of ritualized submission and mythic eroticism.

The closing pages shift into shorter essays, reminiscences, reader reports, notes on foreign films, practical observations, and illustrated columns. These contributions reinforce the magazine’s community character by mixing personal testimony with commentary on performance, cinema, modeling, rope practice, and readers’ reactions. The preserved issue ends during a continuing article, while the printed contents indicates additional material beyond the final preserved page.

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Table of Contents 28 items
  1. Weight Test by Kurokawa Fujio
    6
  2. Wax-Tear Characters by Shima Takashi
    7
  3. Punishment at the Foot of the Bridge by Shima Takashi
    8
  4. Fantasy of the Sea: The Seal and the Beauty by Ryu Reiko
    9
  5. Reverse Hold
    10
  6. The Flower of the Storage Shed by Kurokawa Fujio
    11
  7. A Nasty Prank by Kurokawa Fujio
    12
  8. A Business Girl's Suicide by Ryu Reiko
    13
  9. Wet Statue by Tsukamoto Tetsuzo
    14
  10. Beauty Between the Boards by Kinukawa Fumiyo
    15–16
  11. Writhing Toward the Black Serpent
    17–18
  12. The Process of Ebi-zeme Play by Otsuka Keiko
    19–20
  13. The Chains of Imprisonment
    21–22
  14. I Do Not Want to Go Over There
    23
  15. The Whipped Woman by Nashihana Yuko
    24
  16. Fantasy of Female Seppuku
    25–26
  17. Happy Enslavement
    27–29
  18. The Naked Corpse by Setsushun Haruka
    36–45
  19. My Experience by Matsumoto Sachiko
    46–49
  20. The Iron Finger by Nishida Jin
    50–56
  21. Cruel Scenes of the Silver Screen by Yoshida Kazuo
    57
  22. Akemi, Writhing in Agony by Kondo Kageichi
    58–67
  23. A Strange Tale of Mourning Love by Ito Etsuyo
    68–74
  24. A Wife's Account by Maki Takashi
    75–79
  25. Somewhere in the Universe by Saji Kumazo
    80–93
  26. Dark Sorrow: Legs and Sadism by Minakata Yoshio
    94–97
  27. Impure Sacred Object by Toyama Kazuhiko
    98–103
  28. The Banquet of Pan by Kashii Takahiko
    104–114

Highlights

  • A formal illustrated contents spread identifies the principal fiction, essays, confessions, visual portfolios, and recurring columns, with printed pagination extending considerably beyond the preserved final page. (PDF p. 4).
  • The opening visual section presents a long succession of illustrated and photographic bondage scenarios, moving from pulp-style drawings to studio photography and sequential narrative tableaux. (PDF pp. 6–29).
  • Wet Statue, composed by Tsukamoto Tetsuzo, begins a series of photographic rope studies emphasizing pose, bodily tension, and the transformation of a model into a sculptural object. (PDF pp. 14–18).
  • Happy Enslavement reverses the dominant visual pattern of the opening portfolios by depicting a seated woman directing and controlling a restrained man. (PDF pp. 27–29).
  • Setsushun Haruka's The Naked Corpse is the issue's opening long-form fiction, combining newspaper-office intrigue, kidnapping, imprisonment, murder, and elaborate punishment imagery. (PDF pp. 31–40).
  • Matsumoto Sachiko's My Experience offers a first-person account of an intense relationship between women and the narrator's recognition of her own masochistic responses. (PDF pp. 41–44).
  • Nishida Jin's The Iron Finger is a pulp adventure set partly outside Japan, mixing violence, military and colonial settings, criminal encounters, and coercive sexuality. (PDF pp. 45–51).
  • Saji Kumazo's Somewhere in the Universe introduces speculative-fiction imagery and an otherworldly setting into an issue otherwise dominated by contemporary and historical scenarios. (PDF pp. 75–88).
  • Minakata Yoshio's illustrated essay on legs and sadism examines a specific bodily fetish through commentary and photographic examples. (PDF pp. 89–92).
  • The later pages form a dense miscellany of reader essays, film commentary, recollections, practical notes, and illustrated contributions, giving the magazine the character of an active specialist community rather than a fiction anthology alone. (PDF pp. 108–126).

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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