Stun Guns and Happiness

January 24th, 2014

It has been over a week, so I’ll do my best. That is why I should always write asap after a scene, also this.

It started with rope. Can you do a box-tie? Yes. Arms behind the back, wrists tied, wrap the rope around the chest. All nice and tight and comfy. Out came the stun gun. I back away, and he grabbed me by the hair, hauling me back. I whimpered and thrashed, and he pulled out a blindfold. I whimpered and tapped my foot, trying to stay calm in the tight chest ropes. He dragged me out to the center of the room.

Down. I knelt. Not here. He dragged me off to the side of the room. Laying on my back, arms going numb. Tormented me some more with the stun gun. I curled up on my side, arm still numb. Onto my belly. Much better. For him too.

He grabbed more rope and my ankles are tied. The rope comes up around my neck. So, is this hot. I say yes, but he isn’t asking me. Yes, I hear. Is this hot? Yes. Yes. The other riggers in the room have all agreed that it is hot. Does she need a gag? No, she’ll be quiet. He ties it off to my ankles, zaps me a few times to watch me yank on the rope. Counting so I orgasm just before he zaps me. Then leaves me to stew.

I hear him tying the engineer as I sink into my ropes. There is noise all around, but I am tied and secure and free to just be. He checks in a couple times, pouncing with stun gun, to make sure I’m okay. Once he puts the prongs on either heel. You going to choke yourself? Probably not. Zap. Fuck me! The jolt goes all the way through my legs. Apparently, I am. He laughs. A short while later I tell him my knees are giving up. The jolt and yanking made them angry. He lets them down a few minutes later. Much better.

Once he has the engineer trussed up, he pulls out the dragon tail. I can hear the snaps and her screams. I feel him turning to me. It doesn’t take many snaps and I’m on my back again. So deep in space, and he’s hitting not to mark, it is easier not to scream. Back and forth he goes. A few strikes on her a few on me. She does have a gag to scream into. We both think he is hitting the other harder, ah perception.

Done with the tail, he lets her down and drags me over. Laying atop and between us happily we all wrap around each other. A momentary break, it turns out.

He then drags us to the other end of the room. I have clothes to protect me, she shouts at him about rug burn. He’s got the stun gun again. No, not for her, he promised. He starts counting and zapping again. I’m crying and begging, and thank you, sir-ing. Then he decides the stun gun should be three. According to ex-lover, he should be able to train that, right. I’m crying harder now, and I don’t do it the first time he leaves off saying three. Scolding, didn’t I say? No, you didn’t. Yes, I did. No, you didn’t. He does it again, this time I comply, sobbing out the thank you, sir. And again and again. More begging him to stop and writhing away from the stun gun and sobbing and thanking.

Someone is worried about me, maybe the engineer, I’m not sure, too far gone. He tells them I’m happy. Are you happy, he asks to confirm. That’s a complicated question, Sir. You know what to do. Uncomplicate it, Sir. That’s right, Yes or No. Are you happy? Yes. What? Yes, Sir. Why? Because of that fucking smile on your face that I can’t fucking see. Laughter. Then there is snuggling, and untying, and cleaning up.

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Takedown

April 19th, 2012

She glared at him from the corner, an impish smirk playing at her lips. He smiled back, weighing the rope in his right hand, left patting the coils hooked still to his belt. She braced herself, looking for a way past, as he pulled the coil loose and tossed the tails to the floor. Twisting the center into a cuff, he slips his own hand through, preparing for her charge.

He takes a step toward her, time is up. She scurries to his left, turning as he grabs for her arm. His hand slides down, but catches at her wrist and they spin in a circle together until he lands her up against the wall. His body trapping hers, he slides the cuff from his wrist to hers as she struggles to get away.

Wrapping his freed hand in the rope just below the cuff he prepares for his next move. Knowing the hand is lost, she tries to push it away from the rest of her body, readying for him to let up from the wall.

The pressure releases and she tries to flee away from the caught hand and the rope attached to it. But he is ready, tangling her legs with his and twisting her arm behind her back. And she is on the ground, a knee in the small of her back, her hand on the opposite shoulder blade. He lifts her head by the hair and slips the rope around the front of her neck to keep her from struggling, then feeds it through her armpit, because he know she will anyway.

One arm secured, she hold the other one straight away from her body, as far from him as she can. But he is taller, his arms longer, he grabs the wrist and starts pulling it in. She rocks and kicks and tries to force him off, but he is steady and stronger.

He twists her free arm around and up behind her back, across the first, pinning it with his knee, making quick work of the tie-off, then back over her shoulder and through her other armpit. Matching the first run. He brings the rope to the middle, tying her arms together where they cross. Vertically and horizontally, so she cannot pull out.

He grabs another coil of rope and she feels it hit the floor beside her as he tosses it out. He links the new rope to the old, she can feel him tying extra knots, just for (his) fun later.

And then it’s her feet. She kicks and squirms some more, knowing she has lost the first round, but not wanting to give him too easy a time. He gives up on elegant tying and just wraps the rope around her ankles repeatedly, pulling until she has no more slack to kick. Once immobilized, he takes care to tighten it down with a vertical wrap around the ankle wraps, and then brings the tails back to the splice point to tie off with even more excessive, yet decorative knots.

A small coil comes off his belt and he gathers her hair up into a tight pony tail. Tying it off, he trails the end back to her ankles, through the vertical wrap and down to join the linking knots by her ass.

He steps back, and she rolls her eyes up to look at him, not quite able to regain her earlier glare. He smiled down at the pile of rope and flesh he has created and leans down to kiss her forehead.

“Fifteen minutes, do you think? If not, I’ll just add more rope.”

And he walked to a nearby table to chat with friends while they watched her struggle.

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Rope Scenes

July 14th, 2011

I’ve posted a lot about rope. About why I like it, what I like about it, about scenes I’ve had with it, about buying it, about learning to tie it. There have been a lot of classes on rope lately, with more coming up, especially at COPE in September. The most recent was on Eeling. And he said he learned more about me by attending than about the subject, because he and I don’t play like that. Way back when we first met, he challenged me to get out of a tie, but not since. Our scenes are about other things that escape. So, it brought to mind today, what kinds of rope scenes are there, what kinds do I enjoy, and what do I get out of the different kinds?

Suspension is one, well, two really. There are high-flying suspensions, and there are static.

High-flying suspensions I have written about a few times, describing particular scenes or the freedom in it. The care for comfort of the tie, and the attention to detail of the rigging are very important. Swinging from a point 15-20′ in the air by thin ropes tied around the body is a feeling like no other I’ve ever experienced. We compare it to a swing set of childhood, or a roller coaster ride. But it is so much more than the first, and so much more sensual than the second. It is about trust and control. Giving it all to the person tying and flying you. One mistake and bad things could happen. But when it’s done right, with care and attention. The energy, the joy, the sense of freedom, is incredible. The dizziness from spinning well worth the feeling of the spin. The rope marks can last for days, bright red lines where the ropes lay, holding you in the sky. And for me, the scene doesn’t end when I’m back on the ground. I float as he unties, sometimes slowly, sometimes quickly, leaving burns with the lines. And then I sink back down to earth, surrounded by the rope, coiling it up, breathing it in. Landing mentally, only when it is all put away again.

Static suspensions share a lot of the same sensations and feelings with high-flying ones. But they tend to be more sensual for me. More about the rope touching and holding. More about the feel of him close to me, often playing with me while I’m suspended. Static lends to deeper space, less wide-eyed excitement. I sink into rope space whenever I am tied, but when left to hang in it, my mind sinks deeper into my body. Feeling everything. And floats out to him, feeling the energy and the exchange.

A similar state is achieved through floor scenes. When he ties me, not to a suspension point, but into a ball, or a hog-tie or some such, self-contained tie. These, though, have me grounded, literally, and mentally. I am not floating away, finding the freedom of being suspended. I am tied into myself, molded into the shape he wishes. I am made vulnerable in a completely different way. No longer is my life hanging by a thread, but rather, I am at his mercy. I am where and what he wants me to be. I am bound and helpless, and available for whatever he wants to do, with less safety concerns to distract. (Yes, there are always safety concerns, but not maintaining steady breathing, or a numb limb isn’t going to end a ground scene nearly as quickly as a suspension.) Floor scenes can be as simple as tying and leaving to melt, whether in a ball on the floor, or walking around with just the upper body bound. Or tying and then tormenting – whips, floggers, paddles, pinches, nipple clamps, tickling, what have you. A fully sensual and power exchange scene for me.

Coming off floor scenes, there are bed scenes. Tied down to a bed, for sex and torment. To be tied completely open and vulnerable. These have a different feel from ground scenes, for various reasons. One, obviously, if the intent is sex, is quite a bit different than the above feelings. But the other, for torment, is still different, too. Tied in a ground tie, immobilized and tormented is one thing. Often you can’t see what’s coming, or you can curl and squirm at the very least. Tied out spread eagle, unable to even pretend you can protect or defend yourself. Waiting, watching, often enduring torment that you can do nothing about. It is a similar, but uniquely delicious space. For me, there is far less sinking into the rope in these scenes. Sometimes I use pulling on the rope to process the pain, or as a focus point, but these scenes do not take me to rope space nearly as much as a ground tie.

The last type, I want to talk about is what sparked this post. Eeling. Getting out of the rope you were put in. I used to do this type of scene with the other a lot, or folks on the crew, just playing around when we were bored. See how long it took to escape a particular tie. Or tie myself up so the other could watch me escape. Or be tied up and left to escape on my own. Or one particular friend like to keep adding rope as I would untie the first few. These were interesting scenes for me. Scenes of challenge. I like challenges, challenging myself, being challenged. The ties were puzzles to be solved. And learned from. I love learning, too. I started learning suspension ties by untying them. I learned a lot about floor and bed ties by untying myself. There was discussion about what about eeling turns eels on, and about the rollercoaster that eeling scenes can be. For me – the joy of being tied, the thrill of the challenge set before me, the frustration of a difficult (or improbable to escape) tie, the thrill of getting a knot undone or getting some slack, the frustration that it did no good, continuing on to either end with the satisfaction of escaping, or the arousal of surrender. These scenes can be very tricky. The frustration can overwhelm, or the eel can cause themselves physical injury, or panic can set in (especially when combined with abandonment). But if the balance can be maintained, the frustration can be channeled and the panic controlled, and injury avoided, I enjoy these scenes very much if it is what the top is also after. I am not one to get out of any rope put on me just to see if I can. I like being in it far too much for that.

Are there any other types you enjoy? Do you have a favorite? What about the different types do you like?

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