|The story below is originally published on Mainichi Daily News by Mainichi Shinbun (http://mdn.mainichi.jp).|
|They admitted inventing its kinky features, or rather deliberately mistranslating them from the original gossip magazine.|
|In fact, this is far from the general Japanese' behavior or sense of worth.|
Magazines appealing to flaky 'sukatoro' fetishists fulfill a fascination for feces
Jitsuwa Knuckles' (January) 実話GON！ナックルズ By Masuo Kamiyama
In the latest installment of Jitsuwa Knuckles' (January) ongoing series on niche media titled "Nihon Eros no Genfukei" (The Primeval Landscape of Eros in Japan), Kureichi Matsuzawa turns his attention to turds.
Printed matter about fecal matter, Matsuzawa relates, first began popping -- as opposed to pooping -- up in SM-enthusiast magazines from around the 1950s, and by the early 1960s stories were regularly featured in such fetish periodicals of the times as "SM Fuzoku Kitan" and "Kitan Club."
But it was not until the mid-1970s that glossy color magazines began appearing in which female models let loose before the cameras, revealing the end results of bladder and bowel evacuation in all their gross glory.
These were typically dispensed via vending machines.
This genre of glossy magazines, known as "binibon" (vinyl books), were so named because they were enclosed in transparent plastic pouches that prevented their perusal without purchasing.
Because binibon contents made no effort to comply with obscenity laws (which at the time even banned display of pubic hair), they were circulated underground, and while they typically lacked a publication date, Matsuzawa estimates they began achieving mass circulation from around 1983.
Content-wise, the binibon were able to go where circulated periodicals could not, but initially their contents were still largely SM-related.
Their stock in trade usually involved a session commencing with tying up a female model with ropes; dripping hot candle wax on her bare epidermis as she squealed in mock humiliation; followed by the coup de grace, in the form of an enema -- upon which readers were treated to the sordid spectacle of her voiding her bowels.
A second binibon formula appealed to voyeurs.
Initially these were also strewn with SM-style stories, but gradually shifted their focus to fecal matter, mainly through lascivious leering of ladies letting loose in loos.
This change, Matsuzawa suggests, possibly came about as a result of requests by readers themselves.
Unlike DVDs of today, which include sneak shots of women filmed by concealed cameras, the photographic contents were almost entirely "yarase" (fabricated), but this was still enough to gladden those guys who glory in gazing at guano with gusto.
Most representative of the latter formula would be an ongoing series named "The Unko" (Shit) from a publisher named Kitami Shobo.
This was, Matsuzawa writes, a new turning point in the evolution of pornography.
Up to then, scatological themes had been treated merely as offshoots of sadomasochism or voyeurism.
But suddenly, new publications began showing clean-cut teenage idols producing the foulest, most disgusting things imaginable, and it imparted an all-new kind of shock.
Matsuzawa himself insists he is not particularly infatuated with these scatological publications, but he admits the sheer incongruity of photos showing cute, young, giggly female models producing a horrendous dump to be appealing, in a warped sort of way.
Jitsuwa Knuckles displays the cover art of nine past publications -- with the intestinal output masked so as not to offend reader sensibilities.
The title of one, Baby Face no. 4, is "Reiko Kayama: Koakuma no Sasayaki" (Reiko Kayama: A Little Devil's Whisper).
Other covers on the facing page include such colorfully descriptive titles as "Haisetsu Shibuki" (A Surge of Excrement); "Scatolo Fuck"; "The Unko No. 6: Sohaisetsuryo 1,860g" (The Shit no. 6: Total Volume Excreted, 1,860 grams); and "Water Power No. 2: Funnyo Hoshoku" (Weaning Oneself away from Consumption of Shit and Piss).
Eichi Shuppan's "Baby Face" series continued to be published until earlier this year.
But the company, which infuriated foreign residents last February when it flaunted a glossy A4 MOOK titled "Kyogaku Gaijin Hanzai Ura File 2007" (Astonishing Insider Files on Crimes by Foreigners, 2007), filed for bankruptcy not long afterwards.
Its Web site, (www.eichi.co.jp) appears to have been discontinued. (By Masuo Kamiyama, contributing writer)