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Methods of execution in Pangea

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Tormentor

Tormentor

Governor
I have been developing some ideas for execution techniques based on ancient procedures and thought I might share these in a thread. Like many of my posts and stories, these are set in Pangea, the mythical nation I have created to indulge my depraved fantasies. The execution concepts developed here are brutal and sadistic and will not be to everyone's taste. So please, if you are offended by graphic descriptions of torture and death, don't read this thread.

Methods of Execution in Pangea

The torturesses at Pangea’s Bureau of Punishment & Interrogation pride themselves on their ability to keep victims alive over numerous torture sessions. Although many condemned women succumb to the atrocities inflicted upon their bodies, most of the torturesses’ victims continue to be delivered to the torture chambers for weeks or even months, despite begging for death to end their suffering.
Eventually, a torturess will tire of her victim’s screams and will schedule the woman for execution.
But the sadistic cruelty of the Bureau’s torturesses extends even to their victims’ final moments. Traditional methods of execution like hanging, shooting, drowning, beheading and even crucifixion or burning at the stake have long been rejected because they provide victims with relatively quick and easy deaths. Over the years, the Bureau’s torturesses have designed and refined techniques and apparatus to ensure that, despite the hideous tortures to which their victims have already been subjected, their executions would be no less barbaric and agonising than their previous torments.
Over time, the torturesses have developed several methods of execution which have proven very popular with spectators and, although variations are often applied and torturesses continually experiment with techniques, many condemned woman will end their lives as a result of the application of one of their favourite procedures.
Among the methods preferred and practised by Pangean torturesses, and enjoyed by Pangean citizens, you may find:
The Pulverizer (Le pulvérisateur)
The Bestial Skewer (La brochette bestiale)
The Shredder and Stripper (Le déchiqueteur et le décapant)
The Separator (Le séparateur)
The Glass Oven (Le four en verre)
In future posts I will attempt to describe these popular execution methods together with, in each case, a description of an actual execution. Unfortunately, I have no artistic skills so, if any artists and illustrators in this community feel so inclined, I'm always happy to see their interpretations.
 
This is the first of the Pangean execution methods. I think I may have posted this description elsewhere on CF, so my apologies to those who may have already read it. Descriptions of other techniques will follow, assuming this thread and topic is not inundated with angry, negative responses.

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 an exciting evening of entertainment.
 
I read this because I pick things to read then endure my choices . This way I expand my horizons and gain insights into the dark and mysterious depths of my fellow writer's twisted imaginations. "Her nipples are sliced open"? Oh god! I had to carry on with my arms folded across my breasts. Then I discover at the end there's an audience of Pangean citizens whose sadistic lust is sated. CF is brutal isn't it?
 
old slave said:
It can be.
The variety is extensive.
The imagination of writers like @Tormentor is unbounded.
I 'Like' a well-written story with effort put into its creation.
I do not like mutilation or death.
Click to expand...
Yes me too. Do you think there's a point beyond which the lust for graphic detail in the content can actually impair the telling of the story? I've discovered there are two paths to follow in pursuit of erotic charm. Either go for slicing her nipples in half and make the story more of a description of the physical acts, or you imply the acts as threats and concentrate on her emotional journey as her fate comes to pass. They are different thrills don't you think?
 
old slave said:
It can be.
The variety is extensive.
The imagination of writers like @Tormentor is unbounded.
I 'Like' a well-written story with effort put into its creation.
I do not like mutilation or death.
Click to expand...
Neither do I particularly like mutilation or death. Flogging, yes, torture, yes, but only without leaving permanent damage. I don't like torture to death or anything like that very much.
 
I'm not squeamish about reading such descriptions, or seeing graphic images of such extreme cruelty - I imagine myself being subjected to such savagery myself, or being in the hands of a tormentor as ingeniously cruel as our Tormentor - and that's exciting! But for pleasure and enjoyment, I agree with KK, descriptions and images that hint, that give the minimum necessary information and leave the rest to imagination, appeal more.
 
Thanks for the comments, but I'm not sure whether The Shredder and Stripper story was well received or not. The comments from @KurvyKate, @old slave and @Heineudo are certainly welcome and I always appreciate feedback, whether positive or negative. But I'm in a bit of a quandary as to what is being suggested. Do I continue to post descriptions of Pangean executions (which is what the thread is about) or do I avoid grahic descriptions of mutilation and death? The latter option sort of defeats the intent of the thread, but I don't want to offend people's sensitivities. (Well, not too much.)
 
Tormentor said:
Thanks for the comments, but I'm not sure whether The Shredder and Stripper story was well received or not. The comments from @KurvyKate, @old slave and @Heineudo are certainly welcome and I always appreciate feedback, whether positive or negative. But I'm in a bit of a quandary as to what is being suggested. Do I continue to post descriptions of Pangean executions (which is what the thread is about) or do I avoid grahic descriptions of mutilation and death? The latter option sort of defeats the intent of the thread, but I don't want to offend people's sensitivities. (Well, not too much.)
Click to expand...
Publish anyway, there are still many here who like it, but who may not dare to express their opinion. I, too, just read along here for almost 18 months without commenting.
 
OK. Encouraged by @Heineudo (blame him if you don't like it), I am posting another favoured method of execution.

The Separator (Le séparateur)

The separator is a popular Pangean execution technique adapted from two ancient procedures, the rack and the dismemberment of limbs when a victim is torn apart by horses or oxen.
The Pangean apparatus is a large horizontal metal frame containing a layer of strong springs - not unlike a very large bed frame.
The condemned woman is laid on her back on the springs, spread-eagled. In each corner of the frame is an upright steel tube from which four strong straps emerge. The straps can be extended from the tube for fastening to the victim's fingers/toes, wrists/ankles, elbows/knees and shoulders/hips respectively.
The tension on the straps is controlled electronically and the torturess can make each strap begin to retract into its tube at will.
First the straps are tightened so that the terrified woman is stretched to her limit. The straps to her fingers and toes are attached by means of metal clasps and as these straps are tightened, each finger and toe is slowly dislocated. Continued increase in tension dislocates the joints in her hands and feet.
The next straps tightened are those at her wrists and ankles and those joints are gradually pulled apart.
Metal bands are fastened to the frame to hold the woman's thighs and upper arms in preparation for the next step. The straps at her elbows are drawn tighter and tighter until her elbow joints tear apart. The same process is applied to her knees, which are slowly dislocated.
The bands are removed from her thighs and arms and the torturess activates the spring base on which the creature lies. The springs begin to vibrate vigorously, increasing the agony from her ruptured joints.
After a period where the wretched woman's body is tossed about on the frame, she is prepared for the next stage. Metal bands are again used to hold her in place. This time one is fastened across her chest above her breasts and the second across her pelvis.
The tension is increased on her shoulder straps until, with loud popping sounds, both arms are pulled from their sockets.
The process is repeated at her hips which require considerable force but, eventually, her thighs are detached from her pelvis.
The woman is now suffering hideously, but much worse is to come.
The torturess reactivates the spring base, causing the condemned female's crippled body to shudder and twist in agony. The torturess maintains the vibrations for 15 minutes, allowing her audience to enjoy the creature's shrieks.
The tubes at the bottom of the frame are on rails which allow them to move up the sides of the frame. The torturess activates the tube and they slowly move up the frame, dragging the woman's dislocated thighs further and further apart as they travel.
The condemned prisoner's legs are slowly spread and the tendons of her inner thighs are stretched to breaking point. As her legs are dragged past the horizontal the tendons tear and snap, but the stretching continues until her dislocated legs are almost parallel with her body, her broken feet forced into her armpits.
The torturess again activates the base, causing the springs to vibrate, exponentially increasing the woman's suffering. Her perineum is torn and blood seeps from her vagina and anus.
After 15 minutes, the torturess brings the cylinders back so that the creature's legs are at right angles to her body. The tension on the straps at her thighs is increased dragging her legs gradually further and further apart. The doomed woman's high-pitched shrieks are deafening. The metal bands holding her trunk in position prevent any relief as the skin and flesh between her thighs is torn apart. Her vagina is ripped open and, amid sprays of blood, her bladder, uterus and ovaries emerge. Suddenly, coils of shiny intestines burst from the gaping hole. Her legs finally tear loose from her trunk and jets of blood squirt over the frame.
The woman's shrieks turn into gurgling rattles as blood pours from her mouth. Her bulging eyes glaze over, her body jerks several times and then lies still.
Her execution has taken just over 3 hours.
 
Tormentor said:
Thanks for the comments, but I'm not sure whether The Shredder and Stripper story was well received or not. The comments from @KurvyKate, @old slave and @Heineudo are certainly welcome and I always appreciate feedback, whether positive or negative. But I'm in a bit of a quandary as to what is being suggested. Do I continue to post descriptions of Pangean executions (which is what the thread is about) or do I avoid grahic descriptions of mutilation and death? The latter option sort of defeats the intent of the thread, but I don't want to offend people's sensitivities. (Well, not too much.)
Click to expand...
Go ahead, Tormentor - we're all here exploring our kinks and sharing our fantasies, some will find your writing thrilling I'm sure - some, like me, will find your cruelty exciting, even if we don't feel a need for all the detail, others will prefer different kinds of fantasy on different threads - we like to have as wide and free an offering as our members can give, subject to our few rules, which you certainly aren't breaking.
 
Tormentor said:
OK. Encouraged by @Heineudo (blame him if you don't like it), I am posting another favoured method of execution.

The Separator (Le séparateur)

The separator is a popular Pangean execution technique adapted from two ancient procedures, the rack and the dismemberment of limbs when a victim is torn apart by horses or oxen.
The Pangean apparatus is a large horizontal metal frame containing a layer of strong springs - not unlike a very large bed frame.
The condemned woman is laid on her back on the springs, spread-eagled. In each corner of the frame is an upright steel tube from which four strong straps emerge. The straps can be extended from the tube for fastening to the victim's fingers/toes, wrists/ankles, elbows/knees and shoulders/hips respectively.
The tension on the straps is controlled electronically and the torturess can make each strap begin to retract into its tube at will.
First the straps are tightened so that the terrified woman is stretched to her limit. The straps to her fingers and toes are attached by means of metal clasps and as these straps are tightened, each finger and toe is slowly dislocated. Continued increase in tension dislocates the joints in her hands and feet.
The next straps tightened are those at her wrists and ankles and those joints are gradually pulled apart.
Metal bands are fastened to the frame to hold the woman's thighs and upper arms in preparation for the next step. The straps at her elbows are drawn tighter and tighter until her elbow joints tear apart. The same process is applied to her knees, which are slowly dislocated.
The bands are removed from her thighs and arms and the torturess activates the spring base on which the creature lies. The springs begin to vibrate vigorously, increasing the agony from her ruptured joints.
After a period where the wretched woman's body is tossed about on the frame, she is prepared for the next stage. Metal bands are again used to hold her in place. This time one is fastened across her chest above her breasts and the second across her pelvis.
The tension is increased on her shoulder straps until, with loud popping sounds, both arms are pulled from their sockets.
The process is repeated at her hips which require considerable force but, eventually, her thighs are detached from her pelvis.
The woman is now suffering hideously, but much worse is to come.
The torturess reactivates the spring base, causing the condemned female's crippled body to shudder and twist in agony. The torturess maintains the vibrations for 15 minutes, allowing her audience to enjoy the creature's shrieks.
The tubes at the bottom of the frame are on rails which allow them to move up the sides of the frame. The torturess activates the tube and they slowly move up the frame, dragging the woman's dislocated thighs further and further apart as they travel.
The condemned prisoner's legs are slowly spread and the tendons of her inner thighs are stretched to breaking point. As her legs are dragged past the horizontal the tendons tear and snap, but the stretching continues until her dislocated legs are almost parallel with her body, her broken feet forced into her armpits.
The torturess again activates the base, causing the springs to vibrate, exponentially increasing the woman's suffering. Her perineum is torn and blood seeps from her vagina and anus.
After 15 minutes, the torturess brings the cylinders back so that the creature's legs are at right angles to her body. The tension on the straps at her thighs is increased dragging her legs gradually further and further apart. The doomed woman's high-pitched shrieks are deafening. The metal bands holding her trunk in position prevent any relief as the skin and flesh between her thighs is torn apart. Her vagina is ripped open and, amid sprays of blood, her bladder, uterus and ovaries emerge. Suddenly, coils of shiny intestines burst from the gaping hole. Her legs finally tear loose from her trunk and jets of blood squirt over the frame.
The woman's shrieks turn into gurgling rattles as blood pours from her mouth. Her bulging eyes glaze over, her body jerks several times and then lies still.
Her execution has taken just over 3 hours.
Click to expand...
That's similar to a torture I describe near the end of my Interrogation and Punishment Centre for Girls story (in the Archive)- the girls is laid on a large, horizontal wheel, her wrists and ankles tightly bound to cables that thread through holes in the rim and ar connected to the axle underneath. As the wheel turns slowly, clicking on a ratchet, the cables wrap round the axle and pull ever tighter, until she's torn, limb from limb.
 
Eulalia said:
That's similar to a torture I describe near the end of my Interrogation and Punishment Centre for Girls story (in the Archive)- the girls is laid on a large, horizontal wheel, her wrists and ankles tightly bound to cables that thread through holes in the rim and ar connected to the axle underneath. As the wheel turns slowly, clicking on a ratchet, the cables wrap round the axle and pull ever tighter, until she's torn, limb from limb.
Click to expand...
I'll definitely look that one up, Eulalia. I'm always seeking new and innovative ideas.
 
Having read Eulalia's magnificent (and extensive) story, I feel my contributions are relatively modest. However, here is another Pangean technique.

The Pulverizer (Le pulvérisateur)

The pulverizer is an adaptation of the traditional method of "breaking on the wheel". The Pangean torturesses have developed and mechanised the method so that every bone in the condemned woman’s body, except those of her spine and skull, is subjected to multiple fractures. It is a procedure often used on victims who have already been subjected to intensive torture because, provided her bones are relatively intact, the condemned woman’s execution is guaranteed to be a long, agonising procedure, regardless of the extent of her preceding lacerations, burns and mutilations.

The base of the apparatus is a steel St Andrews cross fastened to the ground, but instead of the traditional “X”, the structure is curved into a “)(” shape. The steel surface is concave rather than flat, so that the victim’s limbs and torso sit in the structure.
The outer edges of the )( frame are flanged and to each of these is attached a small, motorised trolley. Rising from each trolley are three metal arms, about 20 centimetres in length. The function of the arms is to break and crush the condemned woman’s bones.
One arm is of thick steel and its function is to splinter and break the long bones. The centre arm is capped with a serrated hammer to crush feet, hands, knees, elbows, shoulders and pelvis. The third arm is made of finer and more flexible steel to crack the finer bones, clavicle and ribs, without piercing the woman’s lungs and heart, thus preventing her early demise. The movement of the trolleys and the actions of the metal arms are managed by the torturess executioner via a computer control panel.
Set into the )( frame are a series of metal fittings positioned at the points where the victim’s wrists, elbows, shoulders, chest, hips, knees and ankles will sit. These fittings can be raised, lifting the relevant bones and joints to provide easy access for fracturing. The torturess can also dramatically increase the creature's agony by activating the fittings after bones have been shattered.

The condemned woman is dragged, struggling and screaming, to the apparatus and forced to lay on her back, spreadeagled on the frame. She is initially fastened at her calves and forearms and, while the audience hush in eager anticipation, the torturess prepares to activate the mechanism.
The trolleys are at the victim's feet. The centre arms are activated. The small, serrated hammers slam her toes, again and again, crushing the tiny bones. The trolleys move slightly along the flanged edges of the frame and the hammers smack into the woman’s feet, more slowly and more deliberately. The bones in her feet crack and splinter. She shrieks incessantly, but the assault continues until the torturess is satisfied the tarsal bones are all fractured. She moves the trolleys a few centimetres, but holds the hammer arms back for several minutes, increasing her screaming victim’s terror. Then the hammers strike the woman’s ankles – once…pause…twice…pause…three times. The bones in her ankle joints crack and split apart.
The torturess activates the fittings beneath the woman’s ankles, raising them a few centimetres, then dropping them back into the frame, then raising them again. The victim shrieks hysterically as the shattered bones in her feet and ankles are agitated.
The trolleys slide along the outside rims until they come to the other ends of the frame. It is now the turn of the woman's hands, fingers and wrists to be tormented. Once again, the hammers strike, this time hitting her fingers. She tries to curl them into her palms, but her efforts are useless. The knuckles are broken, then the bones. The hammers bash the palms of her hands, crushing the bones. The constant pounding causes her thumbs to dislocate and then fracture.
The trolleys move along the rims and the hammers strike the woman’s wrists, cracking the joints. Once again, the torturess torments her suffering victim by repeatedly raising and lowering the fittings beneath her wrists, shaking her broken hands and fingers and eliciting further howls of pain.
The torturess moves the trolleys slowly along the flanged rims to her victim’s shins, building the suspense before the next assault. She orders the straps restraining the woman’s calves removed and activates both the ankle and knee fittings, raising the shins. The creature struggles but, with her feet and ankles shattered, is unable to escape the attack. The largest of the metal arms on the right trolley crashes down on the exposed right tibia, which snaps immediately, accompanied by an ear-splitting shriek from the doomed creature. The torturess waits until her victim recovers her breath and then the arm on the other trolley thuds into her left shin, cracking the bone cleanly. Once again, the woman screams, her eyes bulging in terror and agony.
The trolleys move to her forearms and the large metal arms continue their gruesome onslaught, fracturing both the ulna and radius in each arm.
Her knees are next; easy targets for the hammer-headed, central arms, which eventually shatter her kneecaps with sickening crunches.
The fittings at her elbows raise those joints to helplessly submit to the hammers’ onslaught and, after several blows, both elbows are splintered and the trolleys move a short distance to the centre of her upper arms.
The heavy metal arms again come into play, striking first the right humerus, then the left, snapping each bone cleanly and hideously painfully. Her arms completely useless, the doomed woman’s torso and hips twist and writhe as she howls in agony, thick, blood-flecked foam forming around her lips.
The trolleys slide slowly along the frame, eventually stopping at the victim’s thighs. The fittings at her hips are raised, lifting her slightly fleshy thighs above the rim of the apparatus.
The torturess takes her time. The woman’s thighs are long, so each femur will be broken in two places. Achieving a second clean break after the first is a difficult task requiring considerable skill.
The trolleys are positioned just above the woman’s shattered knees and both heavy metal arms crash down together, splitting both thigh bones simultaneously about 10 centimetres from the knee. While her victim shrieks uncontrollably, the torturess orders metal plates placed beneath the creature’s broken thighs and moves the trolleys further up towards the waiting hips.
The next blows are made with great force and the second fractures are only about 5 centimetres from the pelvis. The bones in her legs and arms having been pulverized, the victim is now like a rag doll – unable to move anything other than her head and torso. She screams for a merciful death, but her pleas are ignored as the torturess again activates all the fittings, raising and lowering them independently. The woman’s broken body rises and falls in waves as, one after another, the fittings are activated to lift and lower.
The trolleys move up to the woman’s shoulders and the hammer-headed arms slam into her shoulder sockets, shattering the bones. For the first time, the flexible arms are activated, each striking her clavicles between shoulder and neck. Again, the torturess has to call on all her skill and experience. She has no wish to damage the spinal cord in her victim’s neck, so the flexible, metal arms are used to “swipe” the clavicular bones away from the neck until they crack.
Next the trolleys slide down to the hips where the hammer-headed arms are activated to strike the pelvic bones. A woman’s pelvis is very strong and it takes several blows from each side before the hip bones fracture. The torturess notices that her victim is becoming less responsive during this ordeal, so she instructs a torina to inject the woman with a cocktail of stimulants and pain-enhancing drugs to guard against loss of consciousness.
The trolleys move inexorably to the mangled creature’s torso. The fitting beneath her chest is raised, causing the rib cage to lift, exposing her ribs for the final stage of the pulverizing process. The torturess knows that a shattered rib could easily pierce her victim’s lungs or heart, bringing about a quick death. To prevent this, she again swipes the flexible arms, striking the woman’s prominent ribs at an angle from top to bottom until they snap cleanly.
She again activates the fittings which rise and fall in turn slowly up and down the frame, causing the wretched woman’s broken body to undulate helplessly, an action which greatly increases her agony and produces another crescendo of screams.

In bygone days, it was traditional to leave the broken victim on her wheel, which would be raised to allow birds to tear her belly open and feed on the intestines. The modern, Pangean equivalent of this process is to lower a mechanical arm, fitted with a fine blade and a hook, from the ceiling to the woman's belly which is carefully slit open. Using remote control, the torturess inserts the hook to capture a loop of intestine. She slowly retracts the arm, which rotates as it rises, withdrawing a length of glistening viscera as it does so.
In place of the birds relied upon in historical breakings, the torturess sprinkles a small quantity of fire ants on to her victim’s belly. The voracious insects quickly converge on the incised area and attack the exposed intestine.

Pulverizer executions provide onlookers with many hours of entertainment and, despite the torments to which they are subjected, victims often last for days.
 
Tormentor said:
Thanks for the comments, but I'm not sure whether The Shredder and Stripper story was well received or not. The comments from @KurvyKate, @old slave and @Heineudo are certainly welcome and I always appreciate feedback, whether positive or negative. But I'm in a bit of a quandary as to what is being suggested. Do I continue to post descriptions of Pangean executions (which is what the thread is about) or do I avoid grahic descriptions of mutilation and death? The latter option sort of defeats the intent of the thread, but I don't want to offend people's sensitivities. (Well, not too much.)
Click to expand...
Yes, publish whatever you like. Not publishing what you like would defeat the object of your story, not it's explicit content. CF wouldn't be the scary world of depravity and disgrace it needs to be if you start trying to be "nice". It's a bit like a digital fairground ride, you people frighten me. That's what I signed up for!
Kate XX
 
Wow! While I agree with several of the commenters above; that is I prefer a story with well developed characters and setting, and the punishments not to lead to the extensive mutilation and death you describe, I must say I admire your brutal and uncompromising ingenuity in devising the Pangean tortures.
 
I'm genuinely interested in the comments in this thread. Something which is becoming obvious to me is the different ways we view stories about torture and death. That is, whether we find our arousal/excitement/eroticism in being the victim, the torturer/executioner, or an onlooker. I have discovered that I most enjoy being an onlooker, which probably explains why I write about and develop the procedure rather than concentrating on the character development.
Eulalia, on the other hand, associates with the victim, no matter how much she suffers, and she develops the character accordingly (and very effectively) in her writing.
I'd be interested in hearing from someone who prefers writing from the torturers viewpoint.
 
Tormentor said:
I'm genuinely interested in the comments in this thread. Something which is becoming obvious to me is the different ways we view stories about torture and death. That is, whether we find our arousal/excitement/eroticism in being the victim, the torturer/executioner, or an onlooker. I have discovered that I most enjoy being an onlooker, which probably explains why I write about and develop the procedure rather than concentrating on the character development.
Eulalia, on the other hand, associates with the victim, no matter how much she suffers, and she develops the character accordingly (and very effectively) in her writing.
I'd be interested in hearing from someone who prefers writing from the torturers viewpoint.
Click to expand...
There are even layers to the different points of view in approaching death and torture. Personally, although I ache to be degraded and humiliated I don't want to be tortured. But, being threatened with all sorts of horrors is a wild thrill because it makes me anxious to be flawlessly obedient, desperate to appease my masters and to be honest, scared witless! I always put myself in these stories and if I die, even if it takes 20 hours of relentless agony, it somehow feels too final. I want to be persecuted again.

Of course my death would be fine for a torturer. I'm sure there'll be another hapless heroine available to be slashed to pieces the next time inspiration drives him to his keypad!

Would you say, Mr Tormentor, that your appreciation of your heroine's demise is voyeurism, that is some sort of morbid (and erotic) fascination with the horror of it? What happens if you imagine yourself as the torturer, how does that feel?
 
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