{ "source": "wordpress_magazine_archive", "wordpress_issue_id": 24338, "summary": "The May 1954 issue of Kitan Club combines a substantial opening portfolio of rope illustration and photography with prison memoir, enclosed-room fiction, translated sexual literature, masochistic testimony, queer confession, discussions of bodily transformation, historical accounts of slavery and punishment, transvestic desire, equestrian female dominance, seppuku research, and several long narratives.\r\nThe cover depicts a woman lifting her skirt and dominating a seated clergyman-like figure with a lampshade or similar object. The scene is comic and theatrical, but its spatial hierarchy is clear: the woman stands, acts, and controls the image, while the man is seated, startled, and reduced to a spectator within her performance.\r\nThe opening visual portfolio begins on PDF page 7 with Takiko’s Binding Methods Using Posts and Stakes. Several nude women are tied to vertical or horizontal supports in kneeling, standing, and partially suspended positions. The page treats the post not as scenery but as an active geometric component that determines the body’s alignment.\r\nPDF page 8 moves into a crowded historical punishment scene associated with the north-facing Jizō of Awa. Bodies, buildings, ropes, ladders, and spectators create an environment in which suffering is part of public spectacle. It offers a sharp contrast to the isolated technical studies surrounding it.\r\nPDF pages 9–10 collect female abdominal-cutting fantasies in multiple poses. The illustrations reduce the setting to tiled rooms, mats, blades, and bodily posture. Seppuku is treated simultaneously as ritual, anatomical fascination, and visual taxonomy.\r\nThe imported American-style images on PDF pages 11–12 depict bridling and forced movement. Reins, high heels, and outdoor scenery transform equestrian discipline into a sexualized fantasy. These images provide readers with a foreign visual precedent while leaving the distinction between commercial illustration, fantasy, and purported documentation unclear.\r\nTakiko’s illustrated Narayama Play-Dream, on PDF pages 13–14, returns to Japanese dress and domestic interiors. Rope, kimono, furniture, and threatening figures are composed into dense tableaux rather than isolated technical poses.\r\nPDF page 15 presents a direct Seppuku Fantasy, while the following pages move through female-dominance illustration, chair restraint, foreign bondage photography, and a photographic study of two forms of hands-behind binding. This rapid succession turns the opening section into a visual encyclopedia of materials, postures, and cultural styles.\r\nThe photography on PDF pages 19–20 is especially instructive. A kneeling model is gagged and photographed in two compact hands-behind positions. The minimal dark background allows the viewer to compare the effect of rope placement, torso angle, and posture. As elsewhere in the periodical, however, there is no modern discussion of negotiation, physical safety, circulation, nerve risk, or the model’s perspective.\r\nPDF pages 23–26 present staged punishment photographs involving trampling, whipping, attachment to a pillar, and low suspension. The domestic setting makes the scenes appear close to everyday life, while the arrangement of the photographs gives them the rhythm of an escalating ordeal.\r\nTakiko’s Storehouse, on PDF pages 27–28, uses a rural or historical interior to place the body against beams, floor mats, and posts. Architecture becomes part of the restraint system, echoing the issue’s opening technical sheet.\r\nThe illustrated narrative on PDF pages 29–31, approximately titled The Drunken Demon, moves through an outdoor encounter, forced undressing, rope, and pursuit. Its sequential illustrations resemble a compact graphic narrative and provide a transition from the opening portfolio into the prose section.\r\nThe principal prose body begins on PDF page 33 with A Juvenile Prison Record, by Nikone Kōji. Presented in the first person, it describes confinement, discipline, relationships among prisoners, and institutional violence. The prison is not merely a setting for physical restraint. It is a complete hierarchy of surveillance, punishment, obedience, and internalized status.\r\nThe Room of Evil, beginning on PDF page 40, continues Futamata Shizuko’s recurring enclosed-interior series. Beds, mirrors, clothing, darkness, secrecy, and hidden observation turn a private room into a psychological laboratory. The story repeatedly examines how identity changes once participants are removed from ordinary public life.\r\nSentimental Education, beginning on PDF page 49, is presented as a report or confession by a woman associated with imprisonment or criminality. The article moves among biography, sexuality, violence, education, and social discipline. Its documentary appearance should not automatically be taken as proof of literal autobiography, but it gives erotic and criminal experience an apparently personal voice.\r\nNuma Shōzō’s From a Masochist’s Notebook, beginning on PDF page 63, continues one of Kitan Club’s most important recurring series. The notebook combines literary discussion, historical examples, personal reflection, and self-classification. Masochism is represented as an intellectual and cultural identity rather than only as a psychiatric category.\r\nSlavery and Cruelty: A Scene from a Dreadful History, beginning on PDF page 69, surveys enslavement, punishment, and colonial violence through historical examples and illustrations. Its treatment is sensationalized, but the article demonstrates how the magazine repeatedly uses world history to build an archive of domination.\r\nConfession of a Male Homosexual, beginning on PDF page 74, gives male same-sex experience a first-person framework. The narrative discusses youth, urban life, encounters with other men, and the difficulty of living within conventional expectations. Although the language is historically situated, the article allows queer desire to appear as narrated identity rather than merely external diagnosis.\r\nIn Praise of Perversion, beginning on PDF page 77, attempts to defend interests categorized by the period as abnormal. It discusses bodily transformation, animal symbolism, fantasy, aesthetic difference, and the value of nonconformity. The essay’s reclamation remains entangled with pathologizing vocabulary, yet it moves toward treating difference as a source of imagination.\r\nThe anniversary selection Two-Hundred-Character Hymns, beginning on PDF page 81, assembles numerous brief reflections and confessions. Its compressed format creates a chorus of voices rather than one sustained narrative. Readers encounter short statements about humiliation, marriage, bodily fixation, fetish objects, memory, and private fantasy, giving the issue the feel of a dispersed community speaking in fragments.\r\nOverseas Sadism Notes: The Gag, Part Two, beginning on PDF page 95, examines imported popular culture, crime fiction, comics, and film. The article treats gagging as a recurring dramatic image across foreign media and teaches readers to identify the motif beyond explicitly erotic publications.\r\nMadame Diana, beginning on PDF page 101, continues the life of a dominant equestrian woman introduced in the January issue. Horses, whips, riding discipline, wealth, marriage, and social authority shape her character. The long narrative presents female dominance as a durable personality and way of life rather than a single reversal of conventional roles.\r\nThe visual center of this installment arrives on PDF page 105, where Diana and another woman appear inside a circular riding area. Later pages portray commands, pursuit, whipping, and the husband’s increasing submission. Equestrian practice supplies the story with a complete vocabulary of training, obedience, reins, crops, and bodily control.\r\nContinued: Longing for Women’s Clothing, beginning on PDF page 115, is framed as the confession of a person fascinated by cross-dressing. Clothing is described not merely as costume but as a route into an alternate self, a different relation to the body, and a temporary escape from ordinary masculine identity.\r\nThe Man I Sought, Part Five, beginning on PDF page 119, continues Matsui Raiko’s exploration of erotic longing and emotional dependency. The narrator seeks a man who can occupy a particular psychological role. Submission therefore appears not simply as pain but as recognition, idealization, and the hope of completing an identity through another person.\r\nSeppuku Research Night Talk, Part Four, beginning on PDF page 129, is unusually bibliographic. Its first pages list historical books, legal documents, fictional works, illustrations, and newspaper reports dealing with abdominal cutting. The article attempts to transform fascination into a field of research, although its medical and historical claims remain period-specific and uneven.\r\nThe article also reproduces historical illustrations of women holding blades, loosening clothing, or preparing for self-cutting. The mixture of bibliography and image demonstrates how Kitan Club converted fetish interest into archival labor.\r\nMS Play, beginning on PDF page 137, is presented as a prize-winning confession or experience narrative by Nakatani Reiichi. It describes encounters with rope, humiliation, fetish clothing, chains, and staged domination. The first-person form gives the article an aura of testimony, while the illustrations highlight restraint as a sequence of increasingly specialized acts.\r\nItō Seiu’s Sexual Fluids, beginning on PDF page 144, continues his nonfiction series combining bodily material, anecdote, folklore, sexual practice, and antiquarian curiosity. The article moves freely between intimate bodily experience and historical or cultural observation, bringing material excluded from polite discourse into a quasi-scholarly setting.\r\nThe material after PDF page 150 is substantial and essential to understanding the issue.\r\nThe Virgin Writer, beginning on PDF page 149 and continuing through page 160, follows a writer whose sexual inexperience, fantasy, literary work, and encounters with women become inseparable. The story uses authorship as a pressure chamber: imagination develops ahead of lived experience, and writing becomes a substitute for, and distortion of, intimacy.\r\nBull Castration, beginning on PDF page 161, places human punishment beside animal husbandry and rural violence. The narrative moves among agricultural labor, bodily mutilation, masculinity, and spectatorship. Its title and illustrations use the animal body as a disturbing mirror for human fears about sexuality and control.\r\nMemoir of a Former Military Policeman, beginning on PDF page 168, recalls arrest, interrogation, wartime authority, and punishment. The first-person structure gives institutional violence the appearance of testimony, though its factual status cannot be independently established from the magazine.\r\nSorrowful Tale of a Northern Hot-Spring Town, beginning on PDF page 173, follows two women within a remote inn or resort setting. Snow, isolation, baths, economic vulnerability, and interpersonal cruelty transform the hot-spring town from a place of leisure into a closed social world.\r\nConfession of a Feminized Man, beginning on PDF page 179, describes a person assigned male who lives among women, adopts female roles, and struggles against conventional gender expectations. The article’s terminology belongs to 1954 and does not map neatly onto contemporary categories, but it is a significant example of gender variance being given a first-person narrative.\r\nMy Etsugyaku Notebook, beginning on PDF page 184, presents a personal catalogue of pleasurable cruelty. The notebook format allows the writer to move among memories, pictures, fantasies, theater, and specialized scenes without constructing a single continuous story. Etsugyaku becomes a mode of perception through which ordinary events are reorganized.\r\nObsessed with Eye Bandages, beginning on PDF page 188, focuses on a highly specific fetish. The author describes the attraction of medical eye coverings, their association with vulnerability, and the imaginative power of partially obscured vision. The article typifies the magazine’s willingness to give narrow fixations a sustained personal vocabulary.\r\nEndless Defeat: A Tombstone for a Dead Dog, beginning on PDF page 191, combines erotic defeat, grief, degradation, and animal symbolism. Its melancholy tone distinguishes it from the issue’s more technical and classificatory pieces.\r\nThe translated article Cruel Women, beginning on PDF page 195 under the German heading Das Grausame Weib, continues Morimoto Aizō’s collection of European examples of female punishment and dominance. It supplies female cruelty with an international historical genealogy.\r\nKyōko’s Floating Bag, beginning on PDF page 198, closes the substantive issue. The story uses water, bodily danger, concealment, and entrapment to create an image of drifting vulnerability. It continues through PDF page 203.\r\nAward announcements, retrospective indexes, editorial material, publication information, correspondence, and advertisements occupy PDF pages 204–207.\r\nAcross all 207 pages, the May 1954 issue presents Kitan Club as a hybrid archive, confessional forum, research society, and visual workshop. Rope is diagrammed, photographed, historicized, and narrated. Queer and gender-variant contributors are given first-person voices. Female dominance is imagined through equestrian training, prison authority, historical precedent, and everyday domestic hierarchy. Specialized fixations become notebooks and research subjects. The issue still lacks a modern framework of consent and safety, but it clearly helps create a readership capable of naming, comparing, and corresponding about desires excluded from mainstream print culture.", "highlights": [ "Binding Methods Using Posts and Stakes uses vertical and horizontal supports to present restraint as a geometric system rather than a single act (PDF p. 7).", "The north-facing Jizō illustration places punishment within a crowded historical environment of buildings, spectators, ladders, and public violence (PDF p. 8).", "The female-seppuku studies reduce abdominal cutting to a series of comparable poses, blades, and bodily angles (PDF pp. 9–10).", "The imported American-style plates transform bridling and equestrian control into a sexualized vocabulary of reins, heels, and forced movement (PDF pp. 11–12).", "The hands-behind photographic studies isolate gagging, torso angle, and rope placement against a dark studio background (PDF pp. 19–20).", "The domestic punishment photographs use trampling, whipping, a floor pillar, and low suspension to construct an escalating visual sequence (PDF pp. 23–26).", "A Juvenile Prison Record turns prison into a complete hierarchy of surveillance, discipline, and internalized obedience (PDF pp. 33–39).", "From a Masochist’s Notebook presents masochism as a continuing intellectual and literary identity rather than merely a diagnosis (PDF pp. 63–68).", "Confession of a Male Homosexual gives queer experience an extended first-person narrative involving youth, urban life, secrecy, and social constraint (PDF pp. 74–76).", "Two-Hundred-Character Hymns assembles numerous short voices into a miniature erotic public of confessions, memories, and specialized fixations (PDF pp. 81–94).", "Madame Diana uses riding, whipping, marriage, wealth, and training to present female dominance as a durable personal identity (PDF pp. 101–114).", "Seppuku Research Night Talk transforms fetish interest into archival labor through bibliographies, historical documents, and reproduced illustrations (PDF pp. 129–136).", "Confession of a Feminized Man provides a rare first-person account of gender variance within the magazine’s historically specific vocabulary (PDF pp. 179–183).", "Obsessed with Eye Bandages demonstrates Kitan Club’s willingness to give an extremely narrow fetish a sustained autobiographical analysis (PDF pp. 188–190).", "Kyōko’s Floating Bag is the actual concluding story, continuing through PDF page 203 before four pages of awards, indexes, editorial material, and advertisements (PDF pp. 198–207)." ], "toc_entry_count": 42, "imported_at": "2026-07-31T09:27:21+00:00", "schema_version": "1.0", "has_toc": true, "issue_title": "May 1954", "publication_month": "1954-05", "volume": null, "issue_number": null, "themes": [ "Fantasy, dreams, and erotic imagination", "Torture, cruelty, and erotic punishment", "Confession and autobiographical testimony", "Restraint, binding, and helplessness", "Visual art, illustration, and photography", "Foot, trampling, and crushing fetishism", "Publishing culture and editorial debate", "Authority, discipline, and institutional power" ], "toc_entries": [ { "title": "Binding Methods Using Posts and Stakes", "author": "Takiko", "printed_pages": "7", "pdf_page_start": 7, "pdf_page_end": 7, "notes": "Binding Methods Using Posts and Stakes | Takiko | 7" }, { "title": "The North-Facing Jizō of Awa", "author": "Itō Seiu", "printed_pages": "8", "pdf_page_start": 8, "pdf_page_end": 8, "notes": "The North-Facing Jizō of Awa | Itō Seiu | 8" }, { "title": "Four Female Seppuku Fantasies", "author": "Kazuhisa, artist credit reading uncertain", "printed_pages": "9–10", "pdf_page_start": 9, "pdf_page_end": 10, "notes": "Four Female Seppuku Fantasies | Kazuhisa, artist credit reading uncertain | 9–10" }, { "title": "American-Style Training, Part Two", "author": "composition by Sugiura Kōji", "printed_pages": "11–12", "pdf_page_start": 11, "pdf_page_end": 12, "notes": "American-Style Training, Part Two | composition by Sugiura Kōji | 11–12" }, { "title": "Narayama Play-Dream", "author": "Takiko", "printed_pages": "13–14", "pdf_page_start": 13, "pdf_page_end": 14, "notes": "Narayama Play-Dream | Takiko | 13–14" }, { "title": "Seppuku Fantasy", "author": "Kazuhisa, artist credit reading uncertain", "printed_pages": "15", "pdf_page_start": 15, "pdf_page_end": 15, "notes": "Seppuku Fantasy | Kazuhisa, artist credit reading uncertain | 15" }, { "title": "Female-Dominance Fantasies", "author": null, "printed_pages": "16", "pdf_page_start": 16, "pdf_page_end": 16, "notes": "Female-Dominance Fantasies | | 16" }, { "title": "Chair Binding", "author": null, "printed_pages": "17", "pdf_page_start": 17, "pdf_page_end": 17, "notes": "Chair Binding | | 17" }, { "title": "Foreign Bondage Photographs", "author": null, "printed_pages": "18", "pdf_page_start": 18, "pdf_page_end": 18, "notes": "Foreign Bondage Photographs | | 18" }, { "title": "Three Forms of Hands-Behind Binding", "author": "composition by Sugiura Kōji", "printed_pages": "19–20", "pdf_page_start": 19, "pdf_page_end": 20, "notes": "Three Forms of Hands-Behind Binding | composition by Sugiura Kōji | 19–20" }, { "title": "American-Style Torment, Part Two", "author": "composition by Sugiura Kōji", "printed_pages": "21–22", "pdf_page_start": 21, "pdf_page_end": 22, "notes": "American-Style Torment, Part Two | composition by Sugiura Kōji | 21–22" }, { "title": "Trampling and Whipping", "author": "composition by Tsujimura Takashi", "printed_pages": "23–24", "pdf_page_start": 23, "pdf_page_end": 24, "notes": "Trampling and Whipping | composition by Tsujimura Takashi | 23–24" }, { "title": "Pillar Restraint", "author": null, "printed_pages": "25", "pdf_page_start": 25, "pdf_page_end": 25, "notes": "Pillar Restraint | | 25" }, { "title": "Hands-and-Feet Suspension and Single-Rope Binding", "author": "composition by Sugiura Kōji", "printed_pages": "26", "pdf_page_start": 26, "pdf_page_end": 26, "notes": "Hands-and-Feet Suspension and Single-Rope Binding | composition by Sugiura Kōji | 26" }, { "title": "Storehouse", "author": "Takiko", "printed_pages": "27–28", "pdf_page_start": 27, "pdf_page_end": 28, "notes": "Storehouse | Takiko | 27–28" }, { "title": "The Drunken Demon", "author": "artist credit unclear", "printed_pages": "29–31", "pdf_page_start": 29, "pdf_page_end": 31, "notes": "The Drunken Demon | artist credit unclear | 29–31" }, { "title": "A Juvenile Prison Record", "author": "Nikone Kōji", "printed_pages": "33–39", "pdf_page_start": 33, "pdf_page_end": 39, "notes": "A Juvenile Prison Record | Nikone Kōji | 33–39" }, { "title": "The Room of Evil", "author": "Futamata Shizuko", "printed_pages": "40–48", "pdf_page_start": 40, "pdf_page_end": 48, "notes": "The Room of Evil | Futamata Shizuko | 40–48" }, { "title": "Sentimental Education: Confession of a Woman Prisoner", "author": "Azuma Shinsaku; illustrated by Kurihara Shin", "printed_pages": "49–62", "pdf_page_start": 49, "pdf_page_end": 62, "notes": "Sentimental Education: Confession of a Woman Prisoner | Azuma Shinsaku; illustrated by Kurihara Shin | 49–62" }, { "title": "From a Masochist’s Notebook", "author": "Numa Shōzō", "printed_pages": "63–68", "pdf_page_start": 63, "pdf_page_end": 68, "notes": "From a Masochist’s Notebook | Numa Shōzō | 63–68" }, { "title": "Slavery and Cruelty: A Scene from a Dreadful History", "author": "Kawano Shirō; illustrations by Sugiura Kōji", "printed_pages": "69–73", "pdf_page_start": 69, "pdf_page_end": 73, "notes": "Slavery and Cruelty: A Scene from a Dreadful History | Kawano Shirō; illustrations by Sugiura Kōji | 69–73" }, { "title": "Confession of a Male Homosexual", "author": "Oda Masaharu", "printed_pages": "74–76", "pdf_page_start": 74, "pdf_page_end": 76, "notes": "Confession of a Male Homosexual | Oda Masaharu | 74–76" }, { "title": "In Praise of Perversion", "author": "Oniyama Yakusaku, romanization uncertain", "printed_pages": "77–80", "pdf_page_start": 77, "pdf_page_end": 80, "notes": "In Praise of Perversion | Oniyama Yakusaku, romanization uncertain | 77–80" }, { "title": "Two-Hundred-Character Hymns", "author": "Masago Jūshirō", "printed_pages": "81–94", "pdf_page_start": 81, "pdf_page_end": 94, "notes": "Two-Hundred-Character Hymns | Masago Jūshirō | 81–94" }, { "title": "Overseas Sadism Notes: The Gag, Part Two", "author": "Azuma Shin", "printed_pages": "95–100", "pdf_page_start": 95, "pdf_page_end": 100, "notes": "Overseas Sadism Notes: The Gag, Part Two | Azuma Shin | 95–100" }, { "title": "Madame Diana", "author": "Norisugi Kiyoko", "printed_pages": "101–114", "pdf_page_start": 101, "pdf_page_end": 114, "notes": "Madame Diana | Norisugi Kiyoko | 101–114" }, { "title": "Continued: Longing for Women’s Clothing", "author": "Shigeta Masakazu", "printed_pages": "115–118", "pdf_page_start": 115, "pdf_page_end": 118, "notes": "Continued: Longing for Women’s Clothing | Shigeta Masakazu | 115–118" }, { "title": "The Man I Sought, Part Five", "author": "Matsui Raikō", "printed_pages": "119–128", "pdf_page_start": 119, "pdf_page_end": 128, "notes": "The Man I Sought, Part Five | Matsui Raikō | 119–128" }, { "title": "Seppuku Research Night Talk, Part Four", "author": "Nakayasu Hiromichi", "printed_pages": "129–136", "pdf_page_start": 129, "pdf_page_end": 136, "notes": "Seppuku Research Night Talk, Part Four | Nakayasu Hiromichi | 129–136" }, { "title": "MS Play", "author": "Nakatani Reiichi", "printed_pages": "137–143", "pdf_page_start": 137, "pdf_page_end": 143, "notes": "MS Play | Nakatani Reiichi | 137–143" }, { "title": "Sexual Fluids", "author": "Itō Seiu", "printed_pages": "144–148", "pdf_page_start": 144, "pdf_page_end": 148, "notes": "Sexual Fluids | Itō Seiu | 144–148" }, { "title": "The Virgin Writer", "author": "Awami Ichirō, romanization uncertain", "printed_pages": "149–160", "pdf_page_start": 149, "pdf_page_end": 160, "notes": "The Virgin Writer | Awami Ichirō, romanization uncertain | 149–160" }, { "title": "Bull Castration", "author": "Shinohara Sakue, romanization uncertain", "printed_pages": "161–167", "pdf_page_start": 161, "pdf_page_end": 167, "notes": "Bull Castration | Shinohara Sakue, romanization uncertain | 161–167" }, { "title": "Memoir of a Former Military Policeman", "author": "Hayashida Maki", "printed_pages": "168–172", "pdf_page_start": 168, "pdf_page_end": 172, "notes": "Memoir of a Former Military Policeman | Hayashida Maki | 168–172" }, { "title": "Sorrowful Tale of a Northern Hot-Spring Town", "author": "Yoshino Asao", "printed_pages": "173–178", "pdf_page_start": 173, "pdf_page_end": 178, "notes": "Sorrowful Tale of a Northern Hot-Spring Town | Yoshino Asao | 173–178" }, { "title": "Confession of a Feminized Man", "author": "Shinohara Yukio", "printed_pages": "179–183", "pdf_page_start": 179, "pdf_page_end": 183, "notes": "Confession of a Feminized Man | Shinohara Yukio | 179–183" }, { "title": "My Etsugyaku Notebook", "author": "Tsumaki Mitsuzō", "printed_pages": "184–187", "pdf_page_start": 184, "pdf_page_end": 187, "notes": "My Etsugyaku Notebook | Tsumaki Mitsuzō | 184–187" }, { "title": "Obsessed with Eye Bandages", "author": "Sugano Sakurō", "printed_pages": "188–190", "pdf_page_start": 188, "pdf_page_end": 190, "notes": "Obsessed with Eye Bandages | Sugano Sakurō | 188–190" }, { "title": "Endless Defeat: A Tombstone for a Dead Dog", "author": "Sasagawa Yūko", "printed_pages": "191–194", "pdf_page_start": 191, "pdf_page_end": 194, "notes": "Endless Defeat: A Tombstone for a Dead Dog | Sasagawa Yūko | 191–194" }, { "title": "Cruel Women", "author": "translated and explained by Morimoto Aizō", "printed_pages": "195–197", "pdf_page_start": 195, "pdf_page_end": 197, "notes": "Cruel Women | translated and explained by Morimoto Aizō | 195–197" }, { "title": "Kyōko’s Floating Bag", "author": "Hamura Kyōko", "printed_pages": "198–203", "pdf_page_start": 198, "pdf_page_end": 203, "notes": "Kyōko’s Floating Bag | Hamura Kyōko | 198–203" }, { "title": "Awards, Retrospective Indexes, Editorial Material, and Advertisements", "author": null, "printed_pages": "204–207", "pdf_page_start": 204, "pdf_page_end": 207, "notes": "Awards, Retrospective Indexes, Editorial Material, and Advertisements | | 204–207" } ], "analysis_notes": "Migrated from the WordPress archive. 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