SM Mania, September 2007

SM Mania’s September 2007 issue is a large Japanese adult magazine organized around serialized erotic fiction, bondage photography, fetish illustration, reader participation, and commercial SM culture. Its formal contents pages appear near the front, followed by intense-color photographic portfolios and illustrated features before the issue settles into a long sequence of fiction and visual narrative. The publication’s editorial identity is emphatically transgressive, combining pulp storytelling with staged images of rope bondage, suspension, confinement, medicalized settings, voyeurism, humiliation, and fetish objects. The opening section includes the photographic portfolios Abusive/Disciplinary Infirmary, Sacred Prison of Love, and Obedient Female Body Deepening Theory, followed by galleries and illustrated features. Internet SM World documents an early-web ecology of international BDSM websites, image galleries, fetish communities, and commercial retailers. The issue also includes work by artists such as Namio Harukawa, Shirō Kasama, Akira Minomura, and Jukō Maeda. These visual sections shift between monochrome erotic drawing, staged photography, profile pages, and directory-style collages. The central and later portions are dominated by serialized fiction. Stories such as Shura no Bisōka, Unrestrained Flesh, The Beast’s Trial of Love, Debauchery Like an Arrow, The Happiness of Flesh for Sale, Saffron’s Feminine Scent, Childhood Sex-Mania Syndrome, The Resting Place of the Stud Dog, and The Sexual Beast of the Bad Grove repeatedly use marriage, friendship, employment, hospitals, schools, criminal groups, and domestic life as frameworks for coercive fantasy. Many installments are illustrated with substantial plates, while several employ cameras, videotapes, tattoos, collars, ropes, cages, medical equipment, or animal metaphors as recurring devices of control. Reader messages, submission solicitations, reader giveaways, model profiles, SM club notices, telephone-service advertisements, mail-order catalogs, and publication notices extend the issue beyond fiction. They document a participatory and commercial subculture in which readers supplied confessions, stories, photographs, and videos, while publishers sold magazines, DVDs, art books, equipment, and telephone-based services. The closing pages are publisher advertisements and a bondage-themed back cover, leaving the issue with a strong sense of SM Mania as both an erotic magazine and a networked publishing enterprise.

Title	Author	Printed Pages	PDF Pages
Abusive/Disciplinary Infirmary	Uncredited	3	3 –10
Sacred Prison of Love	Uncredited	11	11 –19
Namio Harukawa Aesthetic Gallery: Pleasure Beneath the Buttocks	Namio Harukawa	19	20
The Wet Fleshly Marquis	Shirō Kasama	23	23 –26
Obedient Female Body Deepening Theory	Uncredited	27	27 –35
Internet SM World	Uncredited	35	36 –43
The Flight of the Sensual Beasts	Uncredited	43	44 –52
Shura no Bisōka	Uncredited	54–91	53 –91
Unrestrained Flesh	Kaiyō Kuride	92–120	92 –118
The Beast’s Trial of Love	Uncredited	123–157	121 –157
Debauchery Like an Arrow	Maki Kaori and Yamazaki Muhei	158–178	158 –180
The Happiness of Flesh for Sale	Uncredited	193–219	192 –218
Saffron’s Feminine Scent	Hanakage Wataru and Sakihata Yūji	222–250	219 –250
Rope-Loving Kikkō Bondage	Hajime Watanabe	251	251 –264
This Month’s Pleasure/Torment Angels	Uncredited	267	265
SM Mania Reader Presents	Uncredited	269	267
Childhood Sex-Mania Syndrome	Kazuki Mikawa	272–312	268 –310
The Resting Place of the Stud Dog	Uncredited	316–338	314 –336
The Sexual Beast of the Bad Grove	Ayame Yūki	339–386	337 –384

The issue has a formal printed contents section on viewer pages 21–22 despite the contradictory front-matter anchor note. The contents combines major serialized works with color portfolios, galleries, the Internet SM World project, and recurring departments. Printed pagination is not governed by one perfectly uniform viewer offset: early pages generally place printed material about one page after the viewer number, while later sections often place it about two pages after. Several visual leaves are unnumbered, advertisements interrupt fiction, and some entries begin on title or illustration pages before the first visible printed number. Internal headings, reader-message boxes, embedded illustration plates, and website listings have been retained within their parent formal entries rather than split into standalone articles. The titles and credits for several Japanese works are approximate where the scan typography is small or stylized. Viewer pages 385–386 are publisher advertising and back-cover material rather than formal editorial TOC entries.