Specialty S&M

The opening feature, beginning on PDF page 3, is devoted to chains and their use in SM play. Combining photographs, diagrams, and drawings, it considers chains as an alternative or supplement to rope and illustrates possible arrangements involving beds, suspension points, restraints, and improvised play spaces. This instructional and imaginative opening is followed by a Bondage Photo Session Overview, a documentary-style sequence showing models being bound and photographed in an indoor studio. Pages 14–24 then shift into color with Wet Secret Mound and related scenes involving Mrs. Endō and a female dominant. The sequence emphasizes restraint, inversion, intimate punishment, and the contrast between the restrained subject and the composed dominant figure.

A major monochrome portfolio begins on PDF page 25 under the title Michiko Endō: Cries from Hell. Extending through much of the middle of the magazine, it presents a prolonged staged torment scenario involving torn clothing, rope, chains, scissors, clamps, electrical-looking apparatus, wax or liquid, and other implements. The unusually long photographic progression gives the sequence a quasi-documentary rhythm, recording changes in restraint, posture, equipment, and expression rather than reducing the scene to a few isolated glamour images. A short early-summer outdoor rope diary follows, moving bondage into a wooded exterior setting.

The latter half consists of a rapid series of color and monochrome scenarios. Sacrifice of the Black Mass uses candles, blindfolding, tape, rope, a collar, and ceremonial staging to create a ritualized atmosphere. Midnight Training Site relocates play to an industrial environment built around a large Toyota lifting apparatus, contrasting the nude restrained body with machinery and workplace architecture. Beautiful Girl Hell and The Lament of M-Woman Keiko Koyama continue the emphasis on restraint, gagging, suspension, and humiliation. New Wife Training, Training Bed, and Rough-Rope Torment in the Bath develop domestic and specialized-environment scenarios, while New Wife’s Ordeal of Abuse: Cries of Rope-Marked Flesh forms another substantial monochrome photographic sequence centered on rope, restraint, and physical endurance.

The issue closes by introducing Keiko Kawakami, described as a twenty-two-year-old student at a well-known women’s university, in a short Newcomer feature. The final page, Naked Women in Wild Bloom, presents two women tied together as a concluding color image. Across the publication, Specialty S&M treats bondage photography not simply as illustration but as the principal editorial medium. Rope and chains, improvised equipment, domestic rooms, studios, baths, outdoor spaces, and industrial machinery all become potential stages for SM play, making the issue a particularly concentrated visual record of the magazine’s late-1970s aesthetic and its interest in practical experimentation as well as erotic spectacle.