November 1960

The November 1960 issue of Uramado is a dense mixture of erotic fiction, sadomasochistic fantasy, psychological and cultural commentary, nude photography, translated fiction, reader material, and illustrated historical or sensational narratives. Its opening immediately establishes this range. The illustrated story The Woman in the Noh Mask Writhes follows a traveler who encounters an uncanny masked woman and is interrupted by the photographic portfolio Hanged Woman, credited to Yoshida Hisashi. The issue then shifts to Kurihashi Yuzuru's The Collection of Old Man Kashichi, a story about a wealthy eccentric's obsessive collection of photographs, followed by Yoda Seiji's White Hostage in Torment, an illustrated captivity narrative set amid political upheaval and racialized pulp-adventure imagery. A more documentary or essayistic register appears in Yoshida Yoshio's Considerations on Burning at the Stake, which discusses historical execution by fire, bodily injury, suffocation, and examples such as Joan of Arc. Modern MASO Customs: Men Beneath Women's Buttocks by Izumiya Hiroshi examines male submission, female authority, gender reversal, and fantasies of being physically dominated by women. Morishita Takashige's Invitation to Masochism in Publications and Printed Matter II surveys representations of masochism in books, magazines, illustration, and popular culture. The translated serial Manhattan Club III, attributed to George Kelly, adds a Western erotic-fiction setting before Female Spy and Ogre Military Policeman returns to espionage, interrogation, and coercive sexuality. The middle of the issue alternates prose and photography. Black-Hair Stroll combines long-haired female imagery with reader-oriented commentary, while Nishida Jin's The Glory of Wicked Women examines destructive or transgressive women through historical and fictional examples. A Pose, photographed by Yoshida Hisashi, forms a substantial nude portfolio whose modern graphic layouts use arrows, framing devices, and cropped body studies. The White-Haired Demon of Obsession resumes illustrated erotic melodrama, followed by Captured Composition, another extended photographic study emphasizing folded, constrained, and enclosed poses. Ama Tetsurō's The Man Who Wanted to Become a Maid explores male submission and service to women, and The Devil Peers into the Bathroom returns to voyeurism, coercion, and domestic erotic fantasy. The later pages continue the magazine's wide tonal range. The Tickle Room treats bodily sensitivity and erotic torment, while New Film Introductions provides contemporary cinema commentary. Sunō Hideo's I Am an Ear-Hole Cleaner develops an eccentric sexual profession into a long humorous-erotic narrative. Uramado Town functions as a miscellany of anecdotes, short observations, popular culture, and sexual curiosities. Muraoka Fujisato's A Liar's Last Testament II adopts a criminological frame, discussing offenders, family background, and criminal psychology. The final major serial, Iida Toyokichi's Legend of the Demon Breasts, occupies a large late section and blends period adventure, sexuality, violence, and grotesque melodrama. A closing nude selection and Nakajima Yoshimi's illustrated Evil's Retribution precede advertisements and publication notices. Overall, the issue presents Uramado as simultaneously an SM magazine, erotic literary journal, photographic publication, popular-sexology forum, and eclectic archive of abnormal or marginal culture.

Title	Author	Printed Pages	PDF Pages
The Woman in the Noh Mask Writhes	Tsukumo Jūrō	9–14, 62–65	5 –60
Hanged Woman	Yoshida Hisashi	—	10 –13
The Collection of Old Man Kashichi	Kurihashi Yuzuru	20–27	15 –22
White Hostage in Torment	Yoda Seiji	28–37	23 –32
Considerations on Burning at the Stake	Yoshida Yoshio	38–42	33 –37
Modern MASO Customs II: Men Beneath Women's Buttocks	Izumiya Hiroshi	44–53	39 –48
Invitation to Masochism in Publications and Printed Matter II	Morishita Takashige	54–61	49 –56
Manhattan Club III	George Kelly	66–73	61 –68
Female Spy and Ogre Military Policeman	Sasaki Keiichi	76–83	71 –78
Black-Hair Stroll	Kurozaki Yoshiyuki	84–87	79 –82
The Glory of Wicked Women	Nishida Jin	88–98	83 –93
A Pose	Yoshida Hisashi	99–106	94 –101
The White-Haired Demon of Obsession	Fujimi Shōichirō	107–114	102 –109
Captured Composition	Fukamori Eiji	115–122	110 –117
The Man Who Wanted to Become a Maid	Ama Tetsurō	124–133	119 –128
The Devil Peers into the Bathroom	Tōjō Kyōtarō	134–143	129 –138
The Tickle Room	Enjōji Tatsu	144–149	139 –144
New Film Introductions	Sunaji Hiroshi	150–153	145 –148
I Am an Ear-Hole Cleaner	Sunō Hideo	154–167	149 –162
Uramado Town	Uncredited	168–175	163 –170
A Liar's Last Testament II	Muraoka Fujisato	176–183	171 –178
Legend of the Demon Breasts	Iida Toyokichi	184–204	179 –199
Nude Masterpieces	Uncredited	203–208	198 –203
Evil's Retribution	Nakajima Yoshimi	—	204 –207

The internal divisional page identifies the number as the November newly designed issue, Volume 5, Number 12. The formal illustrated contents occupies PDF page 4. From PDF page 15 onward, printed pagination generally corresponds to the PDF viewer page plus five; earlier color and gravure leaves use a different relationship to the printed numbering. The opening Noh-mask story is explicitly split into two noncontiguous portions: PDF pages 5–9 and 57–60. Several short reader/editorial pages occur between major contents-listed features and are not treated as independent formal-TOC articles. The final four PDF pages contain advertisements, publisher lists, and publication information rather than continuation of the main editorial features. Some uncommon contributor-name readings, particularly the author credited on The White-Haired Demon of Obsession and several minor illustration credits, should be checked against KRP authority records before being treated as definitive standardized romanizations.