There are tools, and then there are instruments. The former populate drawers and dungeon walls, passive until called. But the cane is something older, something ceremonial—something summoned. It does not wait. It knows. And when it arrives, it brings not just the promise of pain, but the confirmation of law. There is no velvet softness to the cane. It is linear, unyielding, and deliberate.

In the beginning, the story is not gentle. It is already charged with the language of command, resistance, and consequence. The Garden of Eden, described to children as paradise, reads to the adult eye as something far darker: the first dungeon, where obedience was tested and the rituals of submission and transgression were written into flesh. The Creator sets the scene with clear rules. The garden is lush, the fruits abundant, the air thick with promise. But one tree is mark