The (New and Improved) Loving Dominant (14 page)

By doing this, you are reinforcing the submissive’s fantasy by making your story match what is going on in his or her imagination. The two build on each other in the sensory vacuum you’ve created.

Sound effects can be very valuable. The crack of a whip or the sound of a knife sliding out of a scabbard reinforce the illusion until it becomes almost indistinguishable from reality.

Don’t forget the submissive’s sense of touch. If you have a vest, you can remind her of her description of one of the characters by saying “As the dark haired man takes off his clothing, he drops his vest on you” and follow your words with the action. To feel the whip at the same time as imagining a whipping is unimaginably intense. One mistress regularly puts her submissives through a degrading male- on-male rape fantasy during which she employs three dildos simultaneously.

Smell, being one of the most subtle senses, has an intense impact directly on the most primitive portions of the brain. It is a good idea to keep a few small vials of scent and other liquids about. For example, in a cycle-gang rape fantasy, I use the odors of oil, gasoline and rubber to emphasize aspects of the fantasy.

In another fantasy, my submissive surprised me by mentioning that she visualized the floor of the dungeon covered with rose petals. I was nonplussed for a moment because I lacked a rose scent. Then, I remembered a package of assorted incense I had purchased that day. In less than a minute, the room was redolent with the scent of roses.

Because of the relatively relaxed pace and the comfortable position the submissive is in, guided fantasies can go on for a long time. I did one that lasted for more than six hours and there is nothing that prevents one from going on for days.

The six-hour fantasy is a good example of the heights of fantasy that can be reached. The submissive, Marty, had a deep interest in the darker side of the supernatural. She had confided to me that she fantasized that she was the reincarnation of a witch, who had been burned at the stake.

The fantasy began with her tied horizontally in a modified crucifix position with her legs spread. I explained that she was going to be inducted into a witches’ coven. In the background, the stereo was playing a long tape of religious chants. We developed the scene with me outlining the entrance of the witches and her filling in details, which I used in my descriptions.

The induction was frankly sexual and during it she had to satisfy each witch orally. To simulate the witches’ vaginal areas, I used my own hand flavored with Marty’s own secretions. The touch of her tongue on my hand was erotic in the extreme because I could almost see what she was imagining. All the time, candles above her breasts and cupped hands contributed a bit of stimulation as they melted.

Then, the witches summoned Satan to take his newest bride. A pistol shot and a bit of burning sulfur provided the background. For Satan’s voice, I used a deep rough tone and spoke with my lips close to her ear. When Satan entered her, Marty let out an incredible scream. Ancient books always spoke of the devil’s cock being cold. This one certainly was because I had left the dildo in the refrigerator overnight.

After a bit more erotic play, I changed the pace. I told her that soldiers had broken in, and the entire coven was arrested. I stood her up and tied her hands and arms to her body with a number of coils of rough rope. Another part of the room where I had broken open a bale of hay because the rough cell into which she was thrown.

Naturally, the jailers had to take full advantage of her helpless position. She was repeatedly “raped,” a part of the fantasy that both of us enjoyed immensely.

After allowing her to recover, still bound, from the “rapes,” I continued the story with her being taken before the inquisition where she was tortured to induce a confession. I had not told her details of the scenario beforehand but I had told her that her safeword for this scene was “I am a witch.”

I used the traditional tortures for a witch were flogging, scalding water and being searched for the mark of the devil. The flogging was simple, and I simulated the scalding water by putting her hands repeatedly in very cold water and then shifting them to a container of very hot, but not scalding, water. The contrast made the hot water seem hotter.

The theory behind the witch’s mark is that each witch has a place where she has been kissed by the devil. The place is numb. The investigators keep putting needles into the unfortunate’s body until they find a point where pricking her does not make scream. I imagine that most suspects confessed while the search was still going on. The investigators may not have used sterile needles or sterilized the area before beginning. However, when fantasy collides with safety concerns, fantasy must give way.

Eventually, Marty “confessed.”

I told her that she was going to be burned at the stake and guided her roughly across the floor. Lacking a proper stake, I tied her hands to a hook above her head and turned on a quartz heater directly in front of her. After a few minutes, when her skin was getting a bit red from the heat, I came up behind her, holding a taper of smoldering sulfur and whispered in the devil’s deep rough tone, “I’ve come again for you, my bride,” and drove home in her pussy the re-chilled dildo.

The resultant orgasms left her incoherent for more than a half hour.

Anything is possible in guided fantasy. You can travel the length and breadth of the universe and do things that, in real life, would leave the submissive a broken twisted shell. Since much of the action is only in the imagination, the only limits are those of your imagination.

Suggested Reading

Fantasy Made Flesh: The Essential Guide to Erotic Roleplay,
Deborah Addington, Greenery Press

Interrogation scenes.
One of the classic ways that vanilla film makers slip a BDSM touch into their products is in an interrogation scene where usually the innocent hero or heroine is helpless in the clutches of the evil doers. Therefore, it is not surprising that a common psychodrama in the scene is an interrogation.

There are several common themes in an interrogation scene. We have already covered one, a witch being forced to confess, in the guided fantasy section. Another is a military interrogation. The theme here is that the submissive is an innocent, a brave solder or rebel maid, and you, the Nazi, Viet Cong, English (you may have an IRA submissive) officer, are doing the questioning. In this kind of a scene, there is often a threat of extreme force, even death, made explicitly.

An interesting facet of this stage setting is the use of symbols that would normally be offensive, in particular, Nazi regalia. Because of this, there is considerable debate within the scene about the appropriateness of this kind of play. My personal feeling is that there is an ironic justice using these symbols in the service of a sexual fetish. Imagine the ire of a Himmler or a Hitler upon discovering that a “bunch of happy perverts” were playing with their revered emblems. Rather than honoring them, we are reducing them to a kind of kinky toy.

Of course, for some, these symbols are just too powerful to consider using. Because of this, no responsible dominant would ever spring such a scene on an unsuspecting submissive without probing his or her sensitivities in this area beforehand. Also, if you chose to talk about and do such scenes, be prepared for criticism from some members of the community.

The police interrogation is another standard form of the interrogation scene. Here, the submissive may adopt the role of the bad guy or innocent victim of circumstances. You can be a good cop or a corrupt cop. Force and threats of force are more moderate here than in the military scenario although the actual activities may be very similar.

Like the fantasy rapes covered in the next section, the interrogation requires the dominant to take on a role that may be quite different from his or her personality. For this reason, I recommend a clear starting and stopping point for such scenes. One of my favorite couples goes a step further. Near the end of the scene, he blindfolds her, explaining that he is going out to get some nefarious device. Then, shifting roles, he reappears as her rescuer, lifting her and carrying her out of the dungeon to safety.

You don’t have to do anything this complex – although it can be fun. A simple prearranged phrase, such as, “You are free,” or an action, like removing the Nazi officer’s cap, can signal the transition from scene to reality.

In this kind of scene, the polarity between dominant and submissive is more marked than in most BDSM play. You are the bad guy or gal. All cooperative endeavor is carefully concealed under a camouflage of brutality or coldness. The mood of this kind of scene is clearly adversarial despite the underlying mutual consent.

Scene setting is particularly important during this kind of psychodrama. You want the submissive to be caught up in the excitement of it all and this means providing enough visual, auditory and even olfactory clues so that he or she can achieve what authors call suspension of disbelief.

I like to make the transition between not-scene and scene with the submissive blindfolded. The blindfold is put in place outside of where the interrogation is going to take place and then removed after she has been bound.

Usually, I begin with chair bondage. Not only is this position familiar through hundreds of late night movies, but it also puts the submissive’s head at a lower level than mine, an important aspect of psychological dominance.

While, for most scenes, you want your dungeon/ black room/ scene room a bit warmer than ordinary room temperature, an interrogation scene calls for a bit of a chill in the air. We want the submissive to shiver a bit. While I rarely use chains for bondage, during an interrogation scene, the cold metal just seems so appropriate. Often, I prepare it ahead of time by leaving it in the refrigerator for a few hours to give it the proper dungeon chill.

It is a special treat for your submissive if you can find somewhere other than your regular scene room to perform the interrogation. For example, all along the East Coast, there are abandoned World War II fortifications. Several times, I took a favorite submissive out to Dutch Island in Narragansett Bay where I had decorated an isolated pillbox. It made a perfect place for a Nazi interrogation scene. These trips were abruptly suspended when an inquisitive soul discovered my hideaway and precipitated a search for what local police believed to be an underground group of American fascists.

However, even in your own house or apartment, you can create the appropriate atmosphere. A bright light shining in the submissive’s eyes creates both the appropriate harsh ambience and distracts from any incongruous items in the background that cannot be removed or altered. I would recommend that you light the rest of the dungeon with red lights. Psychologists say that red lighting intensifies hostility and tension. This may not be appropriate for all scenes, but for an interrogation scene it is perfect.

The old saying is “Clothes make the man (or in this case, perhaps, the woman).” Just a few bits of costume can make the scene come alive. A Nazi armband, a black leather trenchcoat, a Chinese communist cap, all add to the verisimilitude of the experience. Posters, wall hangings, even a field telephone on the table can add to the reality.

I have a collection of Nazi marching songs (they were rotten people but they had great marching songs) to play in the background of my scenes, but almost any appropriately military music will do.

In this kind of scene, more than almost any other, you need to keep your submissive off balance and confused, just like a real prisoner. One trick I use is to tie her to an office chair and occasionally spin it around. This effect can be made even more powerful if some of the lights are strobe lights. Even when a person is standing still these lights can be exceptionally disorienting; when a person is spinning out of control, the effect is mindblowing. Of course, when using strobe lights one has to be careful of their effect both on the dominant and on the submissive. A blinding headache could come under the heading of unintended harm, but strobes can also induce seizures in those prone to them. It is also dangerous to use many impact toys under strobe light. You’ll find that your accuracy suffers greatly because your eyes are telling you the whip’s location when it’s actually moved a significant distance from that point.

Another approach is to tip a conventional chair backwards with the submissive firmly tied in it. The suspense and anxiety, I have been told, are overwhelming.

Prisoners are, of course, threatened. I have a dramatic knife (no edges or point) I got from a theater-supply store. It is useless for cutting clothing or anything else, but it looks terrifying. If you are using a real gun as an intimidation tool check again to see there are no bullets in it, obvious, but you want to be completely secure. Do not count on a safety. Some individuals, with less faith in security precautions than I, suggest that only guns with blocked barrels or no firing pin or mock guns be used in such a scene. My feeling is that you should be aware of the risks and make whatever appropriate actions you need to make sure that the risk is zero.

Some people have suggested using blanks in such a scene. I’m strongly against this. Not only do blanks pose a significant risk of injury or even death simply from the wad and the blast, but having any kind of cartridge around runs the risk of getting confused and allowing live ammo to be used.

The section on “Guided Fantasy” covers some of the stimulants available in a witch interrogation scene. I’ve also used branding irons for intimidation. No branding actually took place, but the woman involved had a great deal of difficulty tearing her eyes off the branding iron slowly heating over a charcoal heater. (Safety note: do not use a charcoal heater in a room. Carbon monoxide poisoning is insidious.)

Electrical devices are often used in interrogation scenes. A typical telephone being used can have more uses than just as a visual prop. Be sure to read the Electricity section of the “Fun and Games” chapter for appropriate hints.

As I noted before, you can end the scene by having the “victim” rescued or by simply giving a prearranged signal. However, in any case, I strongly recommend that you spend a bit of time cuddling and reestablishing the intimacy that this sort of scene pushes into the background.