pigeonwoo123
Guard
Great Art !
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The end of Shao Jun
- Thread starter ruoliuming
- Start date
I'm interested what Chinese word has been translated as 'Templars' -
can you type it in Pinyin?
ruoliuming
Magistrate
Sure, it's " Sheng Dian Qi Shi".
ruoliuming
Magistrate
圣（Sheng）殿（Dian）骑（Qi）士（Shi）
That comes up in the title of the Chinese version of the film (tv series?)
based on Raymond Ghoury's novel 'The Last Templar' -
of course the Templars didn't ever turn up in China (not even in that novel),
I suppose the words refer to some kind of Chinese warriors or warlords.
Templars also feature as the authoritarian baddies in the computer game Assassins' Creed,
that might be in the background to the Shao Jun story, a Chinese strand to the game?
based on Raymond Ghoury's novel 'The Last Templar' -
of course the Templars didn't ever turn up in China (not even in that novel),
I suppose the words refer to some kind of Chinese warriors or warlords.
Templars also feature as the authoritarian baddies in the computer game Assassins' Creed,
that might be in the background to the Shao Jun story, a Chinese strand to the game?
ruoliuming
Magistrate
In Chinese, templars are made up of two words. 圣殿（Sheng Dian）means holy temple and 骑士（Qi Shi）means knight. This is a special noun that used to describe templars, not some Chinese warrior or warlords. I think this is indeed a Chinese element of the assassin's creed. It's just a little game, though, but I'm still looking forward to a real assassin's creed game that the background is set in China.
Ramengmawiaaa
Magistrate
Rest in peace Shao Jun.
Wonderful story yet again. You picked up drawing with colours quite well my man!
ruoliuming
Magistrate
A new story here: http://www.cruxforums.com/xf/threads/eye-for-eye.6846/
桥本环奈 - Hashimoto Huanna
Condemned
I want to see more pictures of the sketch.Can you send me?
桥本环奈 - Hashimoto Huanna
Condemned
桥本环奈 - Hashimoto Huanna
Condemned
I have seen many lingchi pictures.Example diaoliushi，秋风辞。Abd i konw many artists of that,like 晚枫，But this picture is new. It is the first time i see.Can you give me more pictures you have about lingchi?
桥本环奈 - Hashimoto Huanna
Condemned
I have write novels.《皂吏与犯妇》Did you read?I could feel her muscles twitching violently as I cut off her breasts. But she endured the pain without making any noise. She thought she was strong, and even if destroyed her body, but never destroy her soul. But I always knew how to make a woman yield, because there are always some vulnerable spots in a woman's body ...... When I cut off her labia, I heard her groan in pain. But that is not enough, a Ling Chi that does not make the victim scream is like an undirected ensemble. So before I pulled her uterus out with an iron hook, I put the hook into the pepper water. When the hook was inserted into her vagina, I finally heard her scream.
I laughed and she failed.
But the Ling Chi is only just beginning.
View attachment 588713
PS. Anybody want to know where the cut breasts is?
K
ker lee
Guest
Quite interesting to lingchi part of 秋风辞, didn't see it since don't have any access to it
ruoliuming
Magistrate
Thanks for your support! And I sent you a private message, you can reply to me if you have time.
Is it still possible to see more? I just saw this thread right now and I immediately got interested in it.
happyribbed
Guard
How long did they last?
I thought burning alive at the stake or broken on the wheel was gruesome... Ling Chi could top that
akakak
Spectator
It seems that you have read a lot of novels about lingchi. Would you please recommend some of them to me?
Tormentor
Governor
Ling Chi has always interested me. I recently wrote a story about a modern adaptation of this method of execution. Like all my stories, it is set in the fictional nation of Pangea where execution by torture is the prime form of entertainment. I hope it is not inappropriate to post it in this thread.
The Shredder and Stripper (Le déchiqueteur et le décapant)
The shredder and stripper is a Pangean development of Ling chi, the traditional Chinese “death of a thousand cuts”.
The apparatus consists of three metal poles set into a circular steel base. The condemned woman is impaled anally or vaginally, depending on the whims of the torturess and audience, on the central pole which is very thick - about 10 centimetres in diameter - and has a rounded tip to prevent premature death from internal bleeding. It can be adjusted for height so that the impaled woman’s feet are lifted off the ground and she is supported only by the rounded tip lodged in her womb or bowel.
Once impaled, the woman’s arms are pulled above her head and fastened to a swivel hook in the ceiling, thus preventing her from using hands or arms to protect her body from the coming ordeal. When the apparatus is activated, the impaling post performs a slow rotation.
The other poles, the ‘whipping poles’, are situated a half metre either side of the centre post. Near the top of each whipping pole are two wires, similar to those used in garden line-trimmers, the lengths of which can be electronically controlled by the torturess. Like the central post, the two outer poles rotate, but at a much faster rate. During rotation, the outer poles also move slowly up and down, descending into the base before rising again. The extent of the rise and fall movement of the poles is determined by the torturess who aligns the maximum uplift with the woman’s armpits and the lowest point with her feet.
With the condemned female suitably impaled, her arms fastened helplessly overhead, the torturess activates the central pole, which begins to rotate, taking the woman’s body in a full circle every 10 seconds.
Determining the distance between her victim’s body and the outer poles, the torturess adjusts the length of the wires on these poles to ensure at least 5 centimetres of wire will strike the rotating woman. Having entered the appropriate settings, the torturess activates the controls for the whipping poles and she and the eager audience can sit back and watch enthralled while the apparatus carries out the slow, gruesome destruction of the condemned woman.
Once activated, the whipping poles spin rapidly, each in the opposite direction to the slower-moving impaling pole, causing the flailing wires to strike the woman’s body as it rotates towards them. Each slash of the wires produces a shallow laceration about 5 centimetres in length. Due to the rotation of the impaling pole and the gradual rise and fall of the whipping poles along the extent of her body, the wires slash every inch of the doomed creature’s figure, from her armpits to her toes.
Helpless to prevent the unending assault on her unprotected body, the woman can do nothing but scream in agony. The wires tear her skin mercilessly, particularly the more prominent features. Her nipples are sliced open, her breasts lacerated, her belly slashed, her buttocks and thighs gradually shredded. The flailing wires inexorably work their way up and down her writhing body, slicing the skin, until pieces begin to peel and hang in bloody strips until they too are slashed and fall to the ground. Her breasts are bloody mounds of exposed nerve-rich, fatty tissue, glands and milk ducts and, each time they are struck by the slicing wires, the creature’s shrieks intensify.
Her buttocks are stripped to blood-smeared muscle and fat, but the wires continue to slice into the tissue, gradually tearing the gluteal muscles open. Her belly is slowly torn open, the skin is stripped away and her belly fat and abdominal muscles lacerated; her vulva is shredded and her labia slowly sliced apart. Blood splashes down her legs; long strips of skin dangle from her thighs, exposing the muscle tissue beneath; the bones of her shins and feet can be seen because the thin layers of skin have been torn away. And the grisly process continues.
The woman screams for the torturess to kill her, but mercy is not an option.
There is literally no skin left on her body, but she remains conscious and her agony continues. Her armpits are torn open and nerve ganglia and lymph glands are exposed to the ferocious lashes; her shoulder blades, her ribs, her pelvic bone are laid bare as flesh and muscle are stripped away; her intestines emerge as her belly muscle is ripped apart, the viscera slashed by the flailing wires.
The torturess takes control of the process. She does not want her victim’s vital organs destroyed – not yet. She fixes the height of the two whipping posts at the level of the woman’s pelvis and adjusts the timing so that the wires constantly slash the creature’s vulva. Gradually, the wires cut deeper and deeper, tearing away the last pieces of skin and slicing into the fat and muscle beneath. As the tissue of her pudendum is torn open, the woman’s internal uro-genital organs - bladder, uterus and ovaries - are uncovered and these too are subjected to the wires’ relentless thrashing. Their glistening surfaces are soon shredded and bloody as the flailing wires slice deep into their outer layers of muscle.
Eventually, the torturess is satisfied that the woman’s body has been sufficiently mutilated. She deactivates the apparatus and approaches the moaning woman who squirms in agony, bloody foam coating her lips as she begs for death. The torturess has one last torment for her victim. She sprays copious amounts of salt water all over the creature’s lacerated body, eliciting a series of hideous shrieks.
But blood loss and organ failure inevitably take their toll and the woman’s screams begin to subside and finally cease. Her execution has taken almost 5 hours and the audience, their sadistic lusts finally satisfied, queue to congratulate the torturess who has facilitated a most exciting evening of entertainment.
The Shredder and Stripper (Le déchiqueteur et le décapant)
The shredder and stripper is a Pangean development of Ling chi, the traditional Chinese “death of a thousand cuts”.
The apparatus consists of three metal poles set into a circular steel base. The condemned woman is impaled anally or vaginally, depending on the whims of the torturess and audience, on the central pole which is very thick - about 10 centimetres in diameter - and has a rounded tip to prevent premature death from internal bleeding. It can be adjusted for height so that the impaled woman’s feet are lifted off the ground and she is supported only by the rounded tip lodged in her womb or bowel.
Once impaled, the woman’s arms are pulled above her head and fastened to a swivel hook in the ceiling, thus preventing her from using hands or arms to protect her body from the coming ordeal. When the apparatus is activated, the impaling post performs a slow rotation.
The other poles, the ‘whipping poles’, are situated a half metre either side of the centre post. Near the top of each whipping pole are two wires, similar to those used in garden line-trimmers, the lengths of which can be electronically controlled by the torturess. Like the central post, the two outer poles rotate, but at a much faster rate. During rotation, the outer poles also move slowly up and down, descending into the base before rising again. The extent of the rise and fall movement of the poles is determined by the torturess who aligns the maximum uplift with the woman’s armpits and the lowest point with her feet.
With the condemned female suitably impaled, her arms fastened helplessly overhead, the torturess activates the central pole, which begins to rotate, taking the woman’s body in a full circle every 10 seconds.
Determining the distance between her victim’s body and the outer poles, the torturess adjusts the length of the wires on these poles to ensure at least 5 centimetres of wire will strike the rotating woman. Having entered the appropriate settings, the torturess activates the controls for the whipping poles and she and the eager audience can sit back and watch enthralled while the apparatus carries out the slow, gruesome destruction of the condemned woman.
Once activated, the whipping poles spin rapidly, each in the opposite direction to the slower-moving impaling pole, causing the flailing wires to strike the woman’s body as it rotates towards them. Each slash of the wires produces a shallow laceration about 5 centimetres in length. Due to the rotation of the impaling pole and the gradual rise and fall of the whipping poles along the extent of her body, the wires slash every inch of the doomed creature’s figure, from her armpits to her toes.
Helpless to prevent the unending assault on her unprotected body, the woman can do nothing but scream in agony. The wires tear her skin mercilessly, particularly the more prominent features. Her nipples are sliced open, her breasts lacerated, her belly slashed, her buttocks and thighs gradually shredded. The flailing wires inexorably work their way up and down her writhing body, slicing the skin, until pieces begin to peel and hang in bloody strips until they too are slashed and fall to the ground. Her breasts are bloody mounds of exposed nerve-rich, fatty tissue, glands and milk ducts and, each time they are struck by the slicing wires, the creature’s shrieks intensify.
Her buttocks are stripped to blood-smeared muscle and fat, but the wires continue to slice into the tissue, gradually tearing the gluteal muscles open. Her belly is slowly torn open, the skin is stripped away and her belly fat and abdominal muscles lacerated; her vulva is shredded and her labia slowly sliced apart. Blood splashes down her legs; long strips of skin dangle from her thighs, exposing the muscle tissue beneath; the bones of her shins and feet can be seen because the thin layers of skin have been torn away. And the grisly process continues.
The woman screams for the torturess to kill her, but mercy is not an option.
There is literally no skin left on her body, but she remains conscious and her agony continues. Her armpits are torn open and nerve ganglia and lymph glands are exposed to the ferocious lashes; her shoulder blades, her ribs, her pelvic bone are laid bare as flesh and muscle are stripped away; her intestines emerge as her belly muscle is ripped apart, the viscera slashed by the flailing wires.
The torturess takes control of the process. She does not want her victim’s vital organs destroyed – not yet. She fixes the height of the two whipping posts at the level of the woman’s pelvis and adjusts the timing so that the wires constantly slash the creature’s vulva. Gradually, the wires cut deeper and deeper, tearing away the last pieces of skin and slicing into the fat and muscle beneath. As the tissue of her pudendum is torn open, the woman’s internal uro-genital organs - bladder, uterus and ovaries - are uncovered and these too are subjected to the wires’ relentless thrashing. Their glistening surfaces are soon shredded and bloody as the flailing wires slice deep into their outer layers of muscle.
Eventually, the torturess is satisfied that the woman’s body has been sufficiently mutilated. She deactivates the apparatus and approaches the moaning woman who squirms in agony, bloody foam coating her lips as she begs for death. The torturess has one last torment for her victim. She sprays copious amounts of salt water all over the creature’s lacerated body, eliciting a series of hideous shrieks.
But blood loss and organ failure inevitably take their toll and the woman’s screams begin to subside and finally cease. Her execution has taken almost 5 hours and the audience, their sadistic lusts finally satisfied, queue to congratulate the torturess who has facilitated a most exciting evening of entertainment.