The means through which Iris dispatches Professor Mora once and for all draw on a certain curious A.S.F.R. micro-genre which, for want of a more obvious name, I’ll call the “suborn and petrify panel.”
To make something in the micro-genre, someone takes a picture of a pleasing model (usually female, usually naked or near-to-it) and modifies the image of the main figure (I assume using image software) to make it look like the model’s flesh has turned or is in the process of turning to stone, gold, or some other hard inanimate substance. One then attaches a micro-narrative to the image, which explains how the figure was gotten out of her clothes in the first place (a pretext, like a modeling assignment or an assignation or just something as simple as taking a shower) and then turned into a statue by some magical or technological means. Needless to say, this transformation comes as a surprise (probably a rather shocking and unpleasant surprise) to the character depicted. It’s an intended petrificaton, unlike that which happened to Ashley Madder back in the Apsinthion Protocol, which was an accident. Sort of.
What a process, at that! Another image from the artist calling verself Rodin.
And Iris’s revenge runs deep, not just because it’s humiliating to find yourself naked when you really shouldn’t be, but because Iris has created a living metaphor: the process of exposing Professor Mora’s body is at the same time the process of exposing Mora as intellectually fraudulent. Well done, Iris!