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Uramado

June 1964

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Cover of Uramado, June 1964

Issue Details

Volume
9
Issue
6
PDF pages
227

Summary

Uramado’s June 1964 issue presents a dense mixture of serialized criticism, illustrated fiction, reader-contributed writing, photographic bondage portfolios, imported visual material, and community-oriented editorial matter. Its formal contents pages establish a deliberately hybrid identity: literary and cultural commentary sits beside fiction, historical material on punishment and torture, reader submissions, comics, photographs, and recurring columns. Early in the issue, the illustrated Condor’s Paradise and the photographic Dog Pictures are followed by the second installment of The Mystery of Panorama Island, then an essay responding to that series and a continuing survey of modern masochistic culture. The first third therefore moves rapidly between narrative fantasy, visual bondage, and self-conscious commentary on masochism as a cultural form.

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The middle portion broadens the magazine’s historical and critical frame. It includes a discussion of puppet-theater aesthetics, a long retrospective introduction to notable pieces from earlier Uramado issues, Natsukawa Kōichirō’s historical essay on seppuku, a postwar erotic-history feature, the story The Third Time’s Honesty, the reader-criticism piece An Irresponsible Boom, and Okinawa Shōji’s illustrated miniature works. A substantial illustrated story, Kyokugiri Nenja, is followed by imported and domestic visual sections, including material attributed to a German ethnographic museum, Fujisawa Osamu’s photo works, a Screen Climax collection, film stills emphasizing bondage and sadomasochistic situations, and other pictorial sequences.

The later half returns to sustained prose. Uramado Town supplies notices, short commentary, and reader-community material before Mizuo Kyū’s continuing Body-Impact Masochism Theory. A reader-submission cluster follows with Red Moon Night, Woman Pickpocket O-Chō, Law of the Dark Streets, Rotten Storehouse, From the Record of a Certain Refusal, and Wet Flower, most accompanied by illustrations. Eda Kiriko’s literary criticism and the comic Female Ninja Okyan interrupt this fiction sequence with more playful editorial voices, after which fetish-fashion photographs and the fifteenth installment of Gordon’s Memories extend the magazine’s international and visual orientation.

The closing pages combine the reader column with domestic and imported photographic portfolios, Okinawa Shōji’s bar illustration, Yoshida Hisashi’s Chamber of the Sand Dune, and a multi-page general index to earlier issues. Across the issue, recurring concerns include bondage as both visual spectacle and narrative device, masochism as a topic of explicit theory and criticism, the historical imagination of punishment, the circulation of foreign erotic imagery, and the magazine’s cultivation of an active reader community through submissions, commentary, notices, and retrospective indexing.

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Table of Contents 28 items
  1. The Mystery of Panorama Island, Part 2 by Kitazono Tōichirō
    30
  2. The Third Time's Honesty by Miki Shun
    82
  3. Body-Impact Masochism Theory, 24 by Mizuo Kyū
    144
  4. Prayer to the Appointed Goddess, 4: From the Record of a Certain Refusal by Morimoto Aizō
    170
  5. Modern Masochism Cultural Criticism, 27 by Morishita Takashige
    44
  6. Postwar Enchanting Views by Mano Rei
    76
  7. Uramado: Introduction to Notable Reading from Previous Issues
    58
  8. Kyokugiri Nenja by Kabiya Kazuhiko
    94
  9. Okinawa Shōji Miniature Masterpieces by Okinawa Shōji
    90
  10. Red Moon Night by Akagi Keisuke
    154
  11. Woman Pickpocket O-Chō by Gosho Akira
    158
  12. Law of the Dark Streets by Higashijima Kaoru
    162
  13. Rotten Storehouse by Yoshikawa Gen
    166
  14. History of the Cruelty of Seppuku, Part 1 by Natsukawa Kōichirō
    70
  15. An Irresponsible Boom by Shigemori Azuma
    88
  16. Uramado Literary Criticism by Andō Izumi
    50
  17. Wet Flower by Matsuyama Shōichi
    178
  18. An Order for Panorama Island by Shibayama Sadatoshi
    42
  19. Gordon's Memories, 15 by Ama Tetsurō
    202
  20. Reader Corner and Editorial Afterword
    212
  21. Condor's Paradise by Sobue Shin
    9
  22. Dog Pictures by Yoshida Hisashi
    15
  23. Screen Climax Collection
    111
  24. Fujisawa Osamu Photo Works by Fujisawa Osamu
    103
  25. Inojima Masaya Masterpiece Photo Collection by Inojima Masaya
    215
  26. New American Photo Collection
    218
  27. Chamber of the Sand Dune by Yoshida Hisashi
    223
  28. My Literary Criticism by Eda Kiriko
    184

Highlights

  • The formal contents spread defines the issue's hybrid editorial program, combining criticism, fiction, reader submissions, historical essays, photo features, and imported visual material. (PDF pp. 4–5).
  • The second installment of The Mystery of Panorama Island pairs Kitazono Tōichirō's text with Nakagawa Ayako's illustrations and is immediately followed by Shibayama Sadatoshi's critical response to the series. (PDF pp. 26–39).
  • The issue devotes a long central run to cultural and historical essays, including Modern Masochism Cultural Criticism, puppet-theater aesthetics, a retrospective guide to earlier Uramado reading, and Natsukawa Kōichirō's History of the Cruelty of Seppuku. (PDF pp. 40–71).
  • A substantial postwar erotic-history section leads into The Third Time's Honesty and An Irresponsible Boom, showing the magazine moving between historical memory, fiction, and reader criticism. (PDF pp. 72–85).
  • A major visual sequence combines Okinawa Shōji's miniature works, the illustrated story Kyokugiri Nenja, imported torture-device imagery, Fujisawa Osamu's photographs, film stills, and bondage-focused screen imagery. (PDF pp. 86–130).
  • Mizuo Kyū's continuing Body-Impact Masochism Theory provides one of the issue's most sustained explicit attempts to theorize masochistic experience rather than presenting it only through fiction or photographs. (PDF pp. 142–151).
  • The reader-submission fiction block from Red Moon Night through Wet Flower occupies a large portion of the later issue and is heavily integrated with custom illustrations, underscoring Uramado's participatory literary identity. (PDF pp. 152–181).
  • The closing sections combine Eda Kiriko's literary criticism, the Female Ninja Okyan comic, fetish-fashion imagery, Gordon's Memories, reader correspondence, and domestic and American bondage photo portfolios. (PDF pp. 182–223).
  • The final pages provide a general index to earlier Uramado issues, turning the issue into a research aid for the magazine's own publishing history. (PDF pp. 224–227).

Contributors

Named contributors represented in this issue:

Kinbaku Today
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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