November 1957

The November 1957 issue of Uramado is presented as an “abnormality and mystery special.” It combines supernatural transformation, Gothic suspense, crime reporting, sexual pathology, fetishistic fiction, historical adventure, Western pulp, and photographs of women. Compared with the November 1956 issue, it gives more space to explicitly pathological and transgressive sexuality, although these materials remain embedded in a general sensational magazine. The opening pages establish a mood of fear, secrecy, and unstable identity. The cover uses disembodied eyes, a key, a frightened woman, and a shadowed figure. Inside, photographs and illustrations combine nudity, masks, hypnotism, criminal danger, and mental disturbance. The major opening serial is “The Spirit of the Abandoned House.” Its illustrated pages follow a mysterious house, a threatening man, a vulnerable woman, and a sequence of disappearances, discoveries, and psychological shocks. The visual style borrows heavily from translated Western Gothic and detective fiction. A second major feature is “The Woman Enveloped in Punishment,” apparently adapted from foreign writing. The story uses captivity, coercion, sexual danger, and the threat of violence to create a sensation of being trapped. Its recurring banner illustration shows women restrained or threatened, emphasizing the continuity between punishment and erotic spectacle. The issue’s central special supplement begins with “Demon-Princess Transformation,” an illustrated historical fantasy by Shimamoto Haruo. A beautiful woman becomes entangled in deception, supernatural menace, disguise, abduction, and execution-like peril. The story links feminine beauty with transformation into something monstrous, dangerous, or cursed. The sequence includes episodes titled approximately “The Woman Tied Upside Down,” “The Thief,” “The Fallen Princess,” “The Woman Sealed in a Coffin,” “The Death Well,” “The Tattooed Princess,” and “The Snake Pit.” These titles create a catalogue of female endangerment. The woman is repeatedly inverted, imprisoned, buried, branded, or threatened by animals and criminals. The serial is important because its scenes resemble later SM iconography without being framed as consensual erotic practice. Bondage and helplessness appear as narrative devices drawn from punishment, supernatural horror, criminal capture, and historical torture. Other fiction includes “Night of Error,” “The Prayer Master,” “The Devil,” and “The Secret Room of Infection.” These works mix sexual obsession with spiritualism, hypnosis, medical fear, and criminal investigation. The magazine treats sexuality as a portal through which hidden forces enter ordinary life. A substantial investigative feature called “The Prayer Master” presents an occult practitioner or fraudulent religious figure. The reporter enters an environment of ritual, sexual manipulation, suggestion, and fear. Illustrations of a semi-nude woman, cords, and hypnotic gestures reinforce the suggestion that bodily surrender can be engineered by supernatural or psychological control. The issue also contains “The True Form of This,” a detective or mystery narrative involving false identity, deception, and the exposure of hidden motives. Its title promises the revelation of what lies behind appearances, a recurring editorial principle of Uramado. Historical fiction such as “Sword in the Sleeve” and other Edo-period tales uses punishment, secrecy, women in danger, and concealed weapons. These stories translate the magazine’s modern fascination with crime and abnormality into historical settings. For readers of Kinbaku Today, this issue offers a vivid example of how bondage imagery circulated through genres adjacent to SM. Women are restrained, inverted, imprisoned, hypnotized, transformed, and threatened, but the dominant explanatory systems are horror, crime, superstition, and pathology. The magazine provides the raw narrative machinery from which specialist SM publications could construct more self-conscious erotic meanings.

Title	Author	Printed Pages	PDF Pages
A Woman Struggling in a Trap	Hato Yō	14–15	14 –15
The Spirit of the Abandoned House	Akiyoshi Mitsu	16–22	16 –22
Transformation of the Demon Princess, Part Eight of the Secret Memorandum	Shimamoto Haruo; illustrations by Nakajima Kimi	23–40	23 –40
The Demon’s Exorcist	Jinkō Kyōichi	41–52	41 –52
The True Nature of Cholera	Tai Ryōei	53–62	53 –62
The Shuriken	Sayama On	63–72	63 –72
We Buy Corpses	Yagyū Wataru	73–82	73 –82
Tattooed Benten, Part One	Nakabayashi Setsuzō	83–99	83 –99
The Intruder	Miyake Ichirō	100–104	100 –104
The Man Who Came from Hell to Kill	Mano Rei	105–117	105 –117
Record of Wandering	Fushimi Kazuo	118–124	118 –124
A Letter to a Wayward Married Woman	Nakano Mitsuo	125–127	125 –127
Jealousy of the Index Finger	Asayama Seiji	128–138	128 –138
Friday Terror	Toba Eiko	139–149	139 –149
Curious Conversations	Kawaguchi Eiji	150–157	150 –157
The Window	Misaki Yōnosuke	158–159	158 –159
Love Doll	Narumi Genkichi	160–170	160 –170
The Black and White of Murderous Intent	Ujigawa Ryū	171–189	171 –189
Slug Fantasia	Saka Minoru	190–200	190 –200
The Mermaid Covered in Scars	Matsui Raiko	201–209	201 –209
Demon Insect	Kyōgoku Miki	210–218	210 –218
The Man Who Targeted Stalin	Suyama Mitsu	219–230	219 –230
The Woman with Black Manicure	Kihara Yasuo	231–246	231 –246
A Woman’s Fiery-Fat Hell	Iwahori Yasumitsu	247–265	247 –265
The Curse of the Jewel	Kuroki Shinobu	266–276	266 –276
Darkness	Ōkōchi Jōhei	277–287	277 –287
Publication Information	Uncredited	288	288

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