January 1958

The January 1958 New Year issue of Uramado is a lavish 150-page special number organized around hidden crimes, historical punishment, erotic danger, supernatural tales, foreign pulp, and illustrated suspense. Its cover advertises the “Hidden Lord Special,” visually combining a distressed woman, historical cruelty, a large key, and torture imagery. The issue begins with a richly illustrated historical serial titled approximately “The Bewitching Tale of the Hidden Woman,” or “The Hidden Woman in Peril.” Set in the Edo period, it follows a woman trapped among political plots, household authority, criminal accusation, and physical restraint. Color illustrations show her pursued through snowy landscapes, interrogated by officials, tied in a seated position, and threatened inside domestic spaces. The story’s visual emphasis is significant. Female captivity is not only described but carefully staged through posture, clothing, rope, and environment. One illustration shows the woman restrained around the torso and arms; another presents her on the floor near a dog, framed as both endangered person and pictorial object. An extended historical essay, “A Woman’s Crimson Underrobe Seen Through the Age,” examines clothing, sexuality, custom, punishment, and the cultural meanings attached to women’s garments. The article uses antiquarian curiosity to eroticize objects associated with concealment and exposure. The central New Year supplement begins with “The Righteous Man Who Lives in Darkness.” Its episodes include strangulation, inverted suspension, kidnapping, imprisonment, assault, and violent pursuit. Although presented as historical adventure, the serial repeatedly converts punishment into visual spectacle. The feature’s titles include “The Man Strangled by a Dog,” “The Hanging Man,” “The Man Sold,” “The Punishment at the Barrier,” “The Woman at the Bathhouse,” “The Search of the Body,” and “The Burning Skin.” The organization resembles a sequence of illustrated punishments, each offering a different bodily predicament. A second long serial, “Three Stages of the Former Enemy,” continues the magazine’s interest in historical revenge and punishment. Its illustrations show women threatened, disrobed, bound, or placed under the control of armed men. The body becomes evidence of guilt, vulnerability, and social rank. The magazine also includes “The Shadow of Yomisen Road,” a historical crime tale involving abduction, alcohol, night travel, theft, and a woman subjected to violence. Again, familiar SM imagery appears within criminal and historical narrative rather than within reciprocal erotic practice. A modern illustrated work, “Konbanwa,” or “Good Evening,” shifts into urban anxiety. Its illustrations show illness, medical intervention, nightlife, sexual danger, and threatening male figures. The modern city becomes another hidden world parallel to the Edo-period underworld. A major nonfiction or investigative feature concerns prayer healers, hypnotists, and religious fraud. It describes how suggestion, ritual authority, and fear can be used to manipulate vulnerable people. Drawings of women under examination or control connect spiritual deception with bodily access. The issue’s editorials repeatedly promote Uramado as a magazine that reveals what lies behind respectable surfaces. Crime, sexuality, superstition, medicine, and historical cruelty are all treated as concealed realities waiting to be exposed. For readers of Kinbaku Today, the January 1958 issue is valuable because it demonstrates the persistence of punishment imagery outside the specialist SM press. Inversion, tying, confinement, flogging, bodily search, and forced exposure are already organized into repeatable visual motifs. What is missing is not the imagery but the later SM framework that would interpret these scenes through erotic preference, technique, or reciprocal desire.

Title	Author	Printed Pages	PDF Pages
A Strange Tale of the Female Chūshingura	Yokoyama Kengo; illustrations by Nakajima Kimi	6–13	6 –13
An Amorous Akō Ballad	Hōkaiji Kayō	14–22	14 –22
A Loyal Retainer Living in Darkness	Shimamoto Haruo	23–40	23 –40
Two Paths of the Genroku Era	Hashizume Hikoshichi	41–53	41 –53
Good Evening!	Narumi Genkichi	54–64	54 –64
Shadow on the Road to the Underworld	Ujigawa Ryū	65–76	65 –76
Secret Tale of the Basket Lantern	Matsui Raiko	77–91	77 –91
The Illustrated Mandala of Strange Tales	Kubomura Hiroshi	92–106	92 –106
The Graveyard Mansion	Jinkō Kyōichi	107–119	107 –119
The Great Disloyalist	Takano Nijūsan	120–128	120 –128
The Disordered Genroku Kimono	Kuroki Shinobu	129–142	129 –142
Foxfire	Matsui Raiko	143–154	143 –154
Snowstorm Confession of Omiyo	Inō Takashi	155–166	155 –166
The Bloodstained Kannon Image	Iida Toyokichi	167–190	167 –190
The Demon-Hour Woman, Part Ten of the Secret Memorandum	Shimamoto Haruo	191–207	191 –207
The White Caterpillar	Anzukasa Ichirō	208–216	208 –216
Kira’s Hawk Head	Inagaki Shisei	217–228	217 –228
The Booby-Trapped Gun	Watson Dokuda	229–240	229 –240
Two Men Named Kuranosuke	Koyama Ryūtarō	241–258	241 –258
The S.S. Secret Club	Yokoyama Masakatsu	259–269	259 –269
The Beautiful Slave Jelissna	Kaibe Yōzō	270–274	270 –274
Pachinko Hell	Ōkōchi Jōhei	275–284	275 –284
The Sole of the Foot and Gennai	Koyama Ryūtarō	285–298	285 –298
The Treasury of King Ryuka	Fuji Kinya	299–314	299 –314
Record of Wandering	Fushimi Kazuo	315–322	315 –322
Passion and the Compassionate Heart	Yamada Shigeyoshi	323–334	323 –334
The Sound Demon	Misaki Yōnosuke	335–348	335 –348
Tattooed Benten	Nakabayashi Setsuzō	349–367	349 –367
Publication Information and Advertisements	Uncredited	368–373	368 –373

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