X

Sun & Moon

October 1977

← Back to magazine archive

Cover of Sun & Moon, October 1977

Issue Details

PDF pages
118

Summary

The October 1977 issue is the most self-consciously historical and reflective of the three. Its opening photography still emphasizes restraint as spectacle, but the issue devotes substantial attention to the history of SM publishing, the archive of older photographs, the development of rope styles, and the relation between modern amateur practice and the legacy of Kitan Club.

Read full summary Close full summary

The opening portfolio, “Images of Discipline,” presents women tied in Japanese rooms, restrained against sliding doors and alcoves, suspended or inverted, and positioned through architecture. Rope is used to connect the body to walls, beams, furniture, and the frame of the room. The series treats domestic space as a flexible stage upon which restraint can be composed.

The first major text is a “humiliation roundtable” titled “Three Families of Parasitic Insects,” a darkly comic discussion among three participants or couples. The roundtable combines confession, jokes, stories of practice, and observations about different SM temperaments. It reflects the magazine’s ongoing interest in conversational authority: participants establish credibility through experience rather than medical qualification.

The issue then introduces a serialized “Beloved Wife Bondage Record.” The husband-author describes photographing and tying his wife, explaining how their practice developed and how domestic intimacy is altered by the camera. Photographs show behind-the-back ties, standing restraint, outdoor or semi-outdoor posing, and the movement between clothing and nudity.

A long essay, “One Abnormal Sex Life,” explores desire through autobiography and reflection. Rather than offering a simple catalogue of practices, it considers how an erotic identity develops across memory, marriage, fantasy, and repeated experimentation. Such writing shows the magazine trying to preserve life histories, not merely provide stimulation.

The central historical feature is “The Collector of Humiliation: A Record of Solitary Pleasure.” It examines earlier SM books, mimeographed albums, photographic sets, and rare publications. Reproductions include covers and images from old Kitan Club-related materials, allowing readers to see how bondage photography changed from the 1950s into the 1970s.

This archival section is particularly important for kinbaku history. It treats earlier magazines and photographs as collectible evidence of a tradition. The author compares models, rope patterns, print quality, poses, and publishing contexts. By 1977, the postwar SM press was beginning to build its own historiography.

A related feature, “The Pleasure of Drifting: My Specialty Is Stockings,” turns to fetish collecting and private performance. Stockings, garters, corsets, and Western-style lingerie are treated as technologies that frame the body and transform ordinary nudity into fetishized presentation.

The photographic essay “My Den Is Toxic Shocking” or “My Room Is Toxic Shocking” documents a private play environment influenced by imported fetish aesthetics. Leather, restraints, straps, furniture, and theatrical posing shift the visual register away from traditional Japanese rope toward a hybrid international SM style.

The October issue also includes several large amateur portfolios: pregnant-wife bondage, mature women, bedroom restraint, chair ties, chains, body harnesses, reader-submitted photographs, and staged “training” sequences. This variety reinforces the magazine’s claim that SM belongs to ordinary couples and readers rather than only professional models.

The issue’s historical consciousness extends to its discussion of earlier kinbaku models and photographers. Several pages reproduce mid-century bondage photographs, identifying how the older images were posed and how contemporary readers might interpret them. The article does not simply praise the past. It compares changes in bodies, rope tension, costume, studio conventions, and erotic atmosphere.

The concluding sections return to contemporary practice through confessions, photograph submissions, fictional pieces, and rope portfolios. The overall effect is an issue suspended between archive and workshop. It looks backward to construct a lineage while continuing to solicit new amateur evidence.

For readers of Kinbaku Today, the October issue is especially valuable because it shows historical memory becoming part of SM culture itself. The magazine’s readers no longer experience Kitan Club and older bondage albums merely as obsolete pornography. They treat them as ancestral documents whose images can be studied, collected, compared, and republished.

Loading PDF…
Table of Contents 23 items
  1. The Image of Discipline
    3–5
    Summary

    A photographic feature presents staged scenes of women undergoing elaborate rope restraint, blindfolding, suspension, and disciplined poses in domestic and studio-like settings.

  2. M-Woman T Living in the West
    6–7
    Summary

    A visual feature centered on M-woman T presents her bound and blindfolded body in staged erotic scenes associated with submissive identity and restraint.

  3. The Three Bagworms: A Roundtable
    8–16
    Summary

    A long-form roundtable brings together SM writers, editors, and participants to discuss personal experience, bondage practice, erotic photography, publishing, changing sexual culture, and the future of specialist magazines.

  4. Beloved Wife Bondage Diary by Ichinose Sōshi
    17–22
    Summary

    A husband records a domestic bondage diary describing the progressive tying, positioning, blindfolding, gagging, and photographing of his wife in consensual marital SM scenes.

  5. An Abnormal Sex Life by Aoki Shigeru
    23–32
    Summary

    An extended erotic reportage follows a woman’s “abnormal” SM relationship, detailing staged sessions involving submission, restraint, punishment, specialized equipment, and photographic documentation.

  6. Collector of Humiliation: A Record of Solitary Pleasure by Moriyama Shūichi
    33–44
    Summary

    Moriyama Shūichi surveys the development of postwar Japanese SM magazines and image culture through memories of collecting publications, models, photographs, and bondage materials, linking archival preservation to changing tastes in humiliation and restraint.

  7. I Am the Bachelor King by Katsura Keiki
    45–54
    Summary

    Katsura Keiki presents a first-person erotic memoir about his relationships, domestic life, encounters with SM enthusiasts, and experiments involving bondage, discipline, and partner exchange, framed by reflections on SM magazines and changing sexual cultures.

  8. Altar: My First SM Swap Experience
    55–56
    Summary

    A photographic feature documenting an introductory SM swap experience, showing a restrained participant and staged scenes of bondage, sensory restriction, and sexualized role exchange.

  9. Secret Mania Photograph Collection
    57–58
    Summary

    A photographic collection depicting staged scenes of a nude woman subjected to rope bondage, blindfolding, gagging, and controlled positioning by a male partner.

  10. Love Slave by Shima Shikō
    59–60
    Summary

    This photographic feature presents a woman as a “love slave” in a series of staged rope-bound scenes involving blindfolding, exposure, and submissive poses.

  11. M-Woman T Living in the West, Part Two
    61–62
    Summary

    Part two of the M-Woman T series follows a Western-resident submissive woman through staged photographs of rope bondage, blindfolding, and varied restrained positions on beds and furniture.

  12. Shibuya Album, Part One
    63–64
    Summary

    A photographic portfolio presenting a woman in varied rope-bound positions, primarily on a bed, as part of a Shibuya-themed kinbaku album.

  13. Special Training Sequence by Y.Y.
    65–66
    Summary

    Y.Y.’s staged photographic sequence depicts a woman undergoing a stylized bondage and discipline routine through successive rope-bound positions, including standing and floor-based restraints.

  14. Reader-Submitted Photographs by Ichinose Sōshi
    67–68
    Summary

    A reader-submitted photographic feature by Ichinose Sōshi showing a woman in several staged rope- and chain-bound poses, including restrained and gagged compositions.

  15. Scramble by Editorial Special Photography
    69–70
    Summary

    A photographic feature presenting staged scenes of a blindfolded and harnessed woman subjected to varied bondage and restraint poses.

  16. Dazzling Menstrual Belt by Mutsuki Shōichirō
    71–75
    Summary

    A historical and cultural account of menstrual belts, tracing their development from earlier Japanese practices through modern commercial products and their adoption in erotic and fetish contexts.

  17. Continuing to Dream, Now… by Kawabe Seiya
    76–80
    Summary

    A mixed photographic narrative follows Chieko’s progression from an encounter with the photographer through increasingly controlled posing, nudity, rope restraint, commands, and submission-oriented performance.

  18. The Beauty of Rope and Leather by Inayama Tamio
    81–83
    Summary

    An essay compares the aesthetic and cultural qualities of rope and leather in Japanese and Western SM, emphasizing natural materials, traditional kinbaku, and the symbolic meanings of restraint, accompanied by illustrative bondage photographs.

  19. Training Beautiful Things in Submission by Shima Shikō
    84–91
    Summary

    A staged erotic reportage follows the coercive training of a female submissive through repeated sessions involving rope restraint, blindfolding, positional bondage, sensory control, and commanded movement, with detailed descriptions of techniques and interactions.

  20. Fortune Is Unpredictable by Kohinata Tokuma
    92–98
    Summary

    An interview-style erotic feature explores unpredictable encounters, the formation of M-submissive identities, and the dynamics of training, authority, and erotic negotiation between partners, illustrated with staged bondage and submission photographs.

  21. My SM Play Technique by Roman School
    99–103
    Summary

    An illustrated practical guide to rope bondage describes suspension setups, tying points, body positioning, equipment, weight distribution, and safety considerations for staged SM photography and play.

  22. Sun & Moon Correspondence: Reader Opinions, Fantasies, and Photo-Exchange Requests
    104–117
    Summary

    A substantial correspondence and community section presents readers’ opinions, fantasies, personal experiences, photo-exchange requests, submissions, and notices concerning Sun & Moon and related SM publications.

  23. Transformed Arousal by Ranma Dō
    118
    Summary

    A full-page erotic illustration depicts a coercive bondage fantasy in which bound and restrained women are confronted by an armed male figure.

Highlights

  • “Images of Discipline” opens with women restrained against shōji, alcoves, walls, and furniture, making Japanese domestic architecture part of the composition (PDF pp. 3–6).
  • The opening sequence includes floor restraint, standing ties, inversion, spread positions, and suspension-like arrangements (PDF pp. 3–6).
  • “Three Families of Parasitic Insects” presents a comic humiliation roundtable built from participants’ experiences and competing SM temperaments (PDF pp. 8–15).
  • “Beloved Wife Bondage Record” begins a husband’s account of tying and photographing his wife (PDF pp. 17–22).
  • The accompanying images show behind-the-back ties, standing restraint, outdoor posing, and the gradual transition from clothing to exposure (PDF pp. 18–22).
  • “One Abnormal Sex Life” uses autobiography to trace the formation of an SM identity across memory, marriage, and practice (PDF pp. 23–32).
  • “The Collector of Humiliation” surveys older SM albums, rare photographs, and the collecting culture surrounding early kinbaku material (PDF pp. 33–44).
  • Reproduced pages and covers connect the issue directly to Kitan Club and earlier bondage publications (PDF pp. 34–41).
  • The archival essay compares models, rope arrangements, publication formats, and visual conventions across decades (PDF pp. 35–44).
  • “My Den Is Toxic Shocking” combines stockings, garters, leather, straps, and imported fetish style in a private playroom (PDF pp. 45–52).
  • Several drawings and photographs place contemporary Japanese rope beside Western-style fetish equipment, producing a hybrid visual language (PDF pp. 45–54).
  • “SM Swap: First Experience” documents a participant’s introduction to partner exchange or a new play arrangement (PDF pp. 55–56).
  • The issue includes a “Mania Secret Photo Collection” and several amateur portfolios featuring mature women, wives, reader models, and domestic restraint (PDF pp. 57–69).
  • A “special training” portfolio uses shōji rooms, floor bondage, compact leg ties, gags, and improvised equipment (PDF pp. 65–66).
  • By placing historical collecting beside new reader submissions, the issue presents SM culture as both an inherited archive and an expanding field of contemporary practice (throughout PDF pp. 33–118).

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.
X

EVEN MORE NEWS

POPULAR CATEGORY

©