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Help Wanted:
1. Mistake correction
2. Drawing illustrations in vector
Michael Faraday was a brilliant English physicist and chemist of the early 19th century and the inventor and discoverer of many of the electrical devices and laws used today. Once at an industrial exposition where his devices were displayed, the Prime Minister stopped by his exhibit. Michael in a flush of excitement from the sheer honor of it eagerly showed off his new inventions.
“That’s all very well and good, Mr. Faraday,” the Prime Minister exclaimed , “but of what practical use is this electricity of yours?”
After a brief pause, Michael retorted. “Ahh, but Mr. Prime Minister some one of these days you can put a tax on It.”
“OK, Unc, we learned all about the Three Ps of electricity… but how do we use it for play?”
Boy, am I ever glad you asked that question. In fact, I encourage you to write the publisher of this book clamoring for more information about electrical play. Then “juice Too” will miraculously appear on the store shelves.
Remember way back in the early chapters when I said this book was a basic primer and that understanding was the necessary key to electrical play? Wei], those of you who studiously waded through this text so far will now be rewarded. Those of you who haven’t, shame on you. Don’t cheat. Read this book from the beginning. The information contained herein might save somebody’s life some day.
Now let’s take a look at how to think about and play an electrical scene.
This step usually, but not always, belongs to the top in the scene.
Choose an electrical toy. Looking at Chapter 14 will give you a description of the various toys available. If this is going to be your first electrical scene, then I would recommend a TENS unit. (Why? – See Chapter 13, page 100.)
When you buy or borrow an electrical toy, make sure you test it out. Test it out on yourself. With a TENS unit, plug in a set of the small electrodes and place them at each end of your finger. Feel what the sensations are like at different control settings. (What kind of controls would you expect with a TENS unit? What kind of sensations would you expect? Why? – See Chapter 14, page 107.) Make sure you physically inspect the leads 1 the electrodes, the case, and the battery – especially if the unit is a used one, (Why? – See Chapter 7, page 45.)
The above inspection should also be done by the top just prior to using any electrical toy in a scene. This is really a double check just to make sure.
Take a CPR course – pure and simple. (Why? – See Chapter 10, page 78.)
Both of you already know about negotiation. (If not then put this book down and start reading SM 101 by jay Wiseman: get some experience; and then read this book from the start.) The sixteen negotiation points in SM 101 (see Bibliography) are a good starting point. Both of you are defining your limits and supplying valuable information about safewords, health issues, trust issues, pain tolerances, and the like.
The top should pay particular attention to heart health and abuse issues of the bottom. Ask specific questions such as, “Do you have any heart problems or trouble with high blood pressure?” (Why? – See Chapter 10, page 77) and “Have you ever been nonconsensually tortured with electricity?” (Why? – See Chapter 13, page 101.)
The top should also inquire about muscle issues, particularly if you’re going to be using heavier toys like the relaxicisor or cattle prod (Why? – See Chapter 9, page 70, and Chapter 12, page 91). He should find out how experienced the bottom is with electrical play. A bottom new to electrical play should have a lighter scene than would a more experienced electrical play bottom.
Notice I say “…experience… with electrical play.” You can have a bottom who’s spent years being tortured with whips, canes , brands, hot wax, etc M but who may never have played with electricity before. The same can be said for “experienced“ tops.
During the negotiations, the top should take note of the fascination the bottom has about the impending electrical play. Why do they want to play with you particularly? Do they have specific fantasies? Have they seen you play? What are their tone, demeanor arid breathing like when they talk about their interest in electrical play? Also, what fears do they have about electrical play? Have they had any bad experiences with electrical play or with electricity? Remember the 3rd P, Psychology. In electrical play you are playing with the Fear-Fasdnation-Trust triangle (See Chapter 13, page 97).
If you are going to be playing with any insertion devices such as conductive vagina or butt plugs then get information about cunt and/or asshole health. Is the bottom prone to vaginal infections? Does she have anal warts? Are there any tears, cuts, or fistulas? (Would you use heavier toys internally? Why or why not? – See Chapter 9, page 69.)
Find out about any metal that may be on or in the bottom’s body of which you might not be aware – piercings hidden by clothing or flesh, or metal pins or implants under the skin or in the bones.
Finally if you are going to be using arcing toys such as violet wands, clothing issues need to be discussed. Rayon lingerie might look hot on a cute, writhing bottom, but it has a tendency to melt under prolonged arc placement. Wearing cotton, wool, burlap, or nothing at all would be a better material choice here.
Hey you – bottom! Just because I use the word “top” in the above paragraphs doesn’t mean that you should fall asleep or skip them. You’re responsible for your own body and your part in the scene. It is imperative (as I said in Chapter 13, page 97) that you make sure your limitations, health, and fears are known. Your life quite literally depends on it. Also, listen to the questions the top asks. Do you get the sense after reading this book that he knows what the hell he’s doing?
Remember also, you two (or three or four or…) that negotiation can be seductive. Yes, you are communicating necessary information, but sometimes just talking about play can get you all “hot and horny.” That’s not bad intrinsically (in fact it adds to the impending play), but negotiations are supposed to be carried out with both parties operating in rational mode.
As the bottom is preparing herself the top should be preparing his equipment for the scene. Sometimes the ritual of pulling out the TENS unit from the toy bag and plugging in the leads can increase the anticipation of the bottom as she takes off her clothes.
The top should make a final test and inspection of the equipment (See “Preliminaries: The Equipment” above). Any orifice devices that will be used during the scene should be swabbed down with alcohol and/or toy cleanser (Latex condoms over the device will, unfortunately, act as an insulator.)
The top should also make sure that the toy is turned off and all the controls are set to minimum.
Whatever the ritual is for starting your scene, do it. For many it is the collaring ceremony. From this point on the scene depends on what you have negotiated, the safewords you agreed upon, the communication between you two, and finally the skill of the top.
For first electrical scenes I usually like to have my bottoms reclining face up and in spreadeagle bondage. Using cuffs and a bondage table not only is comfortable for the bottom, but is comfortable and convenient for me. All my equipment and the bottom’s body parts are accessible to me.
I usually like to fondle and caress my bottom’s body to check responses and to start getting them excited. Building up is an important part of a scene because it provides a transition between “real-time, real-world“ head space to scene head space.
I may then do a light flogging of the bottom’s body to sensitize her skin and to let her struggle against the bondage to enhance her feelings of helplessness. This is a turn-on for many bottoms.
Next I attach the electrodes. Even if we’ve negotiated for orifice electrical play, I generally start with surface skin electrodes first. Thus I test for responses and also give my bottom a little taste of what’s to come.
As for the selection of electrodes and electrode sites, I have a wide choice. Generally I’ll start with wider electrodes attached to the top apexes of the pubic hair triangle. This is close to the genitalia, thereby enhancing the turn-on, (Why wider electrodes? – See Chapter 9, page 73). As an alternative I may do it across the soles of the bare feet. (Would you play nipple-to-nipple? – See Chapter 11, page 86. What parts of the body’s surface would you not play with? Why? – See Chapter 9, page 68).
Attachment of electrodes need to be planned ahead. Since both of my hands will be needed to operate the TENS unit, the electrodes need to be attached using adhesive tape or adhesive electrodes (but they’re pricey). And a little of her pubic hair under the adhesive tape makes “repositioning” of the electrodes more exciting. (By the way, in negotiations did you check about her allergic sensitivity to adhesive tape? Are you using hypoallergenic adhesive tape?)
Then starting with the unit off and all the controls at minimum, I turn it on. Then I start slowly increasing the intensity (voltage) control until the bottom notices it (She’ll either say so or her body will stiffen in response,) Then I can play with the frequency control. I’ll increase the frequency and check her responses.
For first scenes, the use of the “One to Ten’ scale questions (from “SM 101”) during a scene is definitely helpful here, “On a scale from I, light, to 10, heavy, what did that feet like?” I’ll ask. This lets me check my bottom’s lucidity as well as providing important information about her sensory perceptions.
Using both the intensity and frequency controls (and the duration controls if the TENS unit has one). I’ll slowly work up the scale until my bottom says “…8” or “…9.” This gives me a range of control that I can work with – on that particular part of the body.
I then reposition the electrodes to other parts of the body that I want to play with. Cunt lips or the penis from base to tip are favorite places of mine which I save for the last of the experimental trials. Always with a new position I’ll start with the controls at minimum and work up. (The bottom in the meantime is enjoying the hell out of it and getting turned on more and more.)
During this building up process I like to talk with my submissive. Using my best seductive voice I ask the “… I (being light but perceptible) to 10 (heavy, almost to the point of calling the scene)” questions, and occasionally ask her what the safewords are that we agreed to. Here Pm maintaining communication and checking lucidity. (Some bottoms can “space out” into a non-verbal state which renders them incapable of saying the safeword, and I need to know if that happens.)
The above is but one variation of building up. There are many ways of doing it. The object is to get the bottom more turned on and obtain information as to her range of responses.
Once I know the ranges of control and the responses of my bottom, row I can have fun. My sadistic glee comes out by first positioning the electrodes in a particularly sensitive path, and then starting from a “1 “ and working up to an “8” or “9.” How slowly or rapidly I do this depends on the responses of my submissive. Very often I’ll start building up to, say a “5,” then backing off a little, then rapidly going to a “9,” staying there for a brief moment, then backing down. I always keep her off balance. She doesn’t know what kind of sensation or intensity shell get next She feels helpless and not in control. She is a toy dancing under my command. I definitely get a power rush on this kind of play.
Sometimes I’ll pre-attach several sets of electrodes and my bottom will not know which ones will give sensation next Again, this is a method to keep her off balance.
In the back of my mind (background processing if you’re familiar with computer terminology), Pm paying attention to responses. Every once in a while HI check on limbs to see if they feel cold (which can indicate circulation being cut off by restraints), and I’ll ask her her name or what the safewords are. I will also periodically check her pulse (Why? See Chapter 10, page 77). I am always in control and getting information and feedback on my bottom’s condition.
I always talk to my bottom during play. Intermixed with response questions, I do a banter that reminds her that she is the helpless, restrained, receiving bottom totally at my mercy. If humiliation has been agreed to during negotiation, I’ll do it now. I also tell her what level I’ll hit her with next, and then either carry it out or give her some lighter or harsher variant. I may even offer veiled hints that she are in the hands of a madman, an evil, sadistic Dr. Mengele toying with a victim.
I also do a lot of touching and fondling between electrical bouts. This is also a good time to introduce orifice toys (if that has been agreed to in negotiations). With such a new toy, however. I’ll do the same range testing as with the surface electrodes.
I may even use whips and riding crops at this point. The enjoyment of scenes is not dependent on electrical play alone.
This combination of talking, touching, and torture, together with my “back of the mind” processing, definitely gives me an intense feeling of craftsmanship and orchestration. I don t get bogged down by the minutiae of play. The details are never far from my awareness, and yet I’m having fun.
Also, because of my heightened awareness of my bottom and the intense level of communication we have with each other, I get an intense feeling of intimacy with her. If we’re at a party, it seems that we are the only two people there, even though others are watching or are doing their own scenes. And yet I’m periphery ally aware of the others. (I know enough not to back into another’s play space, and I can prevent unwarranted intrusion by other players and watchers.)
What a combination – power rush, craftsmanship, and Intimacy. No wonder I have a tremendous feeling of elation and tell myself, “Damn, I’m good!” at the end of a scene.
The bottom is getting something too. I am playing with her fear and fascination. She is the recipient of a variety of unpredictable, variable, pleasurable and sometimes painful sensations. She feels she’s under someone else’s control. But really, she’s in control too. She trusts me. She knows that she has the safewords. She trusts herself. This allows her to relax and enjoy the experience.
This is one of many different type of play styles. As you play with different partners, especially a long-time partner, you’ll develop variations that uniquely satisfy both of your needs, wants and desires.
Almost as important as building up and the main part of the scene, the winding down phase allows the bottom to “come down” from scene space to or towards reality.
I use the same techniques as I used in the main part of the scene for the winding down phase, except my emphasis is more on the talking and light touching. At this point I fondle only if we’re going to transition into lovemaking.
I start mentioning that Pm going to start easing off. I start asking my bottom some more real-world questions like, “How do you feel?” or “Are you warm enough?” Such questions require that the bottom start using her rational mind. This excursion into reality starts getting her in touch with her body and her surroundings.
This can also be a time when emotions – sometimes deep ones – come up. The top needs to deal with them. Also, the bottom sometimes needs to take care of strong emotions (guilt, fear, sadness) that may have come up for the top. Both the bottom and the top may need reassurance at this time.
This is a time where I hug my bottom a lot – just to let her know that there is someone to welcome her back. Often I’ll cover her with a blanket.
This winding down process can take either a couple of minutes or sometimes as long as the scene. This depends entirely on the people involved and the intensity of the scene just finishing.
When the bottom is (at least somewhat) lucid and can navigate on her own, the top’s job is not yet finished. Taking the bottom to a chair or couch away from the play area is recommended. There you can get something to drink (moisture replenishment is important after a scene) or eat. This can be done in a scene context (for example, sending your bottom to get some food and drink and serving it to you on her knees) if she is also a submissive and it’s been negotiated.
Then you talk. Rather than ask, “Was it good?” I usually ask, “What did you like the most and the least about the scene?” Such open ended questions invite a thoughtful response, I get good feedback, and the bottom is brought further back to her rational side and hence reality if needed. The discussion needn’t be deep. The object here is to get first impressions – particularly helpful if you’re going to do another scene later.
Sometimes a bottom will still have endorphins coursing through her system. In that case I usually make sure that she is taken home rather than letting her drive by herself, if possible, I might arrange for a stayover.
And I’m still not done. I usually call first time play partners the next day to see if they’re OK. This gives them another opportunity to express their opinion about the scene we did after some sober reflections. Second impressions are important too.
The above description of a lightweight scene is just an example of one of the many, many variants that electrical play scenes can take. You should be able to see how the understanding of the “Three Ps” help in the scene and how they can be used in a seamless way and without getting bogged down in minutiae.
Everyone and every time is different of course, but addressing these major aspects in your own way will just help both of you enjoy the experience more. After all, the play is the thing.