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Kitan Club

July 1974

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Cover of Kitan Club, July 1974

Issue Details

Volume
28
Issue
7
PDF pages
169

Summary

The July 1974 issue of Kitan Club is organized around an unusually large body of bondage photography followed by reportage, serialized fiction, confessional writing, reader testimony, illustrated essays, and accounts of contemporary SM practice. Its opening visual section, Beautiful Garden of Perversion, photographed by Tsukamoto Tetsuzo, presents a broad catalogue of models, rope configurations, gags, reclining and suspended poses, and domestic interiors. Individual photographs are given descriptive captions, making the portfolio function as a visual taxonomy of bondage poses rather than a single continuous scenario.

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The principal early article is Tsukamoto Tetsuzo’s camera-and-pen reportage Exploring the Sexual Instrument of a Woman for Amorous Use, centered on Fujita Akiko. Extending through more than thirty printed pages, it combines first-person sexual testimony with photographs and discussions of bodily response, humiliation, restraint, and SM experimentation. The magazine then moves into recurring fiction with the sixty-ninth installment of Great Eruption and the fifth installment of Saji Mazo’s Woman Prisoner, followed by Shinmaru Kiyoshi’s experiential confession The Tomoko I Raised. These sections shift the issue from documentary presentation toward fantasies of captivity, control, training, and interpersonal domination.

The middle portion includes the thirty-fifth installment of the period SM novel The Gate of Purple Orchids, followed by Ushirono Mitsuru’s essay Designs and Experiments for Tormenting a Beautiful Woman’s Anus. Shiki Shisei’s memoir Visiting Reiko, the Phantom Woman of Suma continues the issue’s interest in remembered encounters and elusive women, while Takamura Hiroko’s M-Woman Correspondence contribution Fantasies in a Closed Room combines personal fantasy with bondage photographs. Asaba Yasushi’s suspense M-mystery The Jar on the Bed then develops an extended erotic narrative involving marriage, medical authority, sexuality, and coercive fantasy.

The later pages become especially useful as evidence of Kitan Club’s mixed-media SM culture. An eight-millimeter film column introduces the silent film Porn SM: Ecstasy of the Whip, describing its scenes in a shot-by-shot manner. Suzaka Akira’s Mariko Image Drawings explains sketches prepared for direct instruction of an M-woman, linking illustration to the planning of actual play. Nakagawa Keiko’s confession I Cry at Twilight combines recollection and bondage photographs, while Oniyama Kensaku’s M-Sawa Friendship Record installment Madman closes the available body of the issue with another sustained narrative of male-female SM relations.

Throughout, the issue treats SM not simply as fantasy but as something documented, discussed, rehearsed, illustrated, photographed, filmed, remembered, and exchanged through reader networks. Its mixture of explicit first-person accounts, serialized narratives, practical visual material, correspondence-oriented features, and extensive photography exemplifies Kitan Club’s role as both an erotic publication and a participatory forum for the developing Japanese SM community of the 1970s.

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Table of Contents 15 items
  1. Beautiful Garden of Perversion by Tsukamoto Tetsuzo
    5–28
  2. Photo: Pleasure Amid Suffering by Kimura Tsutomu
    29
  3. Camera-and-Pen Reportage: Exploring the Sexual Instrument of a Woman for Amorous Use by Tsukamoto Tetsuzo
    30–63
  4. Great Eruption by Chiba Seiki
    64–71
  5. Woman Prisoner by Saji Mazo
    72–89
  6. The Tomoko I Raised by Shinmaru Kiyoshi
    90–93
  7. The Gate of Purple Orchids by Furyu Gokudoken
    94–110
  8. Designs and Experiments for Tormenting a Beautiful Woman's Anus by Ushirono Mitsuru
    111–113
  9. Visiting Reiko, the Phantom Woman of Suma by Shiki Shisei
    114–119
  10. M-Woman Correspondence: Fantasies in a Closed Room by Takamura Hiroko
    120–125
  11. The Jar on the Bed by Asaba Yasushi
    126–141
  12. 8mm Movie Introduction: Porn SM: Ecstasy of the Whip by Nakamiya Sakae
    142–146
  13. Mariko Image Drawings by Suzaka Akira
    147–149
  14. I Cry at Twilight by Nakagawa Keiko
    150–157
  15. Madman by Oniyama Kensaku
    158–171

Highlights

  • Beautiful Garden of Perversion, photographed by Tsukamoto Tetsuzo, forms an extensive opening portfolio presenting numerous models, rope arrangements, gags, poses, and captioned bondage scenarios. (PDF pp. 3–26).
  • Tsukamoto Tetsuzo's Exploring the Sexual Instrument of a Woman for Amorous Use is the issue's major camera-and-pen reportage feature, combining photographs of Fujita Akiko with extensive discussion of sexual response, restraint, humiliation, and SM experimentation. (PDF pp. 28–61).
  • The sixty-ninth installment of Great Eruption continues one of Kitan Club's long-running serialized erotic narratives and marks the transition from documentary material into fiction. (PDF pp. 62–69).
  • The fifth installment of Saji Mazo's Woman Prisoner develops an extended captivity narrative and occupies a substantial block of the issue. (PDF pp. 70–87).
  • Shinmaru Kiyoshi's The Tomoko I Raised is framed as an experiential confession and describes a relationship organized around sexual training and control. (PDF pp. 88–91).
  • Ushirono Mitsuru's Designs and Experiments for Tormenting a Beautiful Woman's Anus is an unusually explicit essay connecting conceptual planning, physical technique, and experimental SM practice. (PDF pp. 109–111).
  • Takamura Hiroko's M-Woman Correspondence feature Fantasies in a Closed Room combines first-person fantasy with photographs of a bound woman, showing the magazine's integration of reader-oriented writing and staged imagery. (PDF pp. 118–123).
  • The eight-millimeter movie feature Porn SM: Ecstasy of the Whip documents an SM film through descriptions and film-frame images, providing evidence of small-format erotic filmmaking within the contemporary scene. (PDF pp. 140–144).
  • Suzaka Akira's Mariko Image Drawings explicitly presents erotic sketches as images prepared for direct instruction of an M-woman, linking fantasy drawing to the planning of real-world play. (PDF pp. 145–147).
  • The closing material includes Nakagawa Keiko's confession I Cry at Twilight and Oniyama Kensaku's Madman, installment 52 of the M-Sawa Friendship Record, maintaining the issue's emphasis on personal testimony and relational SM through its final pages. (PDF pp. 148–169).

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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