November 1960

The November 1960 issue of Gaho Fuzoku Kitan combines three extensive bondage gravures with illustrated punishment fantasies, imported fetish art, serialized erotic fiction, reader correspondence, and a concluding theatrical portfolio. Its editorial identity rests on the movement between Japanese domestic settings and a deliberately international repertoire of restraints, costumes, apparatus, and melodramatic scenarios. The opening color plates establish the issue's principal visual language through women bound on a stone bridge, posed beside a decorative bird, and restrained in a tatami room. After a short feature on historical gags and a formal contents spread, the first gravure develops a sequence of compact rope poses against walls, tiled rooms, bamboo fences, shoji, garden stones, and domestic furniture. Several tableaux use architectural edges or thresholds as compositional devices, while others introduce gags, chains, collars, and rubber straps. The second gravure continues in both Japanese interiors and landscaped gardens, alternating kimono disarray with partially clothed and nude poses. Its settings include tatami rooms, stone bridges, garden paths, railings, sofas, and a staged encounter with a snake. A seven-image illustrated portfolio titled “Seven Scenes in Sodom's Frames” transforms the photographic vocabulary into graphic fantasy. The plates depict suspension, insect torment, log restraint, punitive binding, pillar bondage, whipping, and belt restraint, with contributions credited to Tsuchii Keiko, Ema Miku, and Tagami Keiko. The third gravure returns to photography with a woman fastened to a wooden signpost, confined on tatami, placed on a raised platform, tied among vegetation, and forced into and around an automobile. These scenes emphasize exposure in outdoor or semi-public spaces and the use of vehicles and fixed structures as restraint apparatus. The central imported-art section reproduces John Willie drawings and fetish-costume designs featuring corsets, leather dresses, masks, gags, boots, gloves, and elaborate disciplinary clothing. This is followed by the illustrated serials “Sally's Experience,” “The True Identity of Mummy,” and “The Heaven of Pleasurable Cruelty.” Together they present abduction, coercion, masquerade, institutionalized domination, and theatrical punishment through densely illustrated prose. The closing portion includes a substantial reader forum, notices, and advertisements before the photographic story “The Drive of Terror,” in which a bound woman is transported and abandoned around an automobile and a remote stone structure. The issue concludes with “Theatrical Bondage à la Carte,” a documentary-style gallery of stage performances involving rope suspension, interrogation scenes, group tableaux, inverted positions, a cage, a waterwheel, and other spectacular devices. The final pictorial page returns to a solitary bound figure, giving the issue a visual coda rather than a prose conclusion.

Title	Author	Printed Pages	PDF Pages
First Gravure	Uncredited	3–18	10 –25
Second Gravure	Uncredited	19–34	26 –41
Seven Scenes in Sodom's Frames	Uncredited	35–42	42 –49
Tickled While Suspended	Tsuchii Keiko	35	42
Ant Torment	Tsuchii Keiko	37	44
Log Floating	Ema Miku	38	45
At the End of Love and Hate	Ema Miku	39	46
Pillar Bondage	Tagami Keiko	40	47
Marks of the Whip	Tagami Keiko	41	48
The Belt That Encircles the Skin	Tagami Keiko	42	49
Third Gravure	Uncredited	43–53	50 –60
Abnormal Photograph Collection and John Willie Art Portfolio	John Willie	54–89	61 –76
Sally's Experience	Uncredited	90–98	77 –85
The True Identity of Mummy	Uncredited	99–103	86 –90
The Heaven of Pleasurable Cruelty	Hattori Tetsuji	104–109	91 –96
Readers' Forum	Uncredited	110–114	97 –101
The Drive of Terror	Uncredited	115–121	102 –108
Theatrical Bondage à la Carte	Uncredited	122–129	109 –116
Final Bondage Portrait	Uncredited	—	117

The formal printed contents appears on PDF page 8. The scan includes both single-page images and at least one photographed spread, producing irregular relationships between PDF viewer pages and printed pagination. Several small contributor names and some early gravure page numbers on the contents page are faint; uncertain author readings have therefore been left null or flagged in notes. The plate on PDF page 43 belongs to the seven-scene illustrated portfolio, but its caption is absent or not legible in the surviving image. PDF pages 97–101 combine correspondence, notices, and advertisements. PDF page 117 is an unnumbered pictorial coda.