Sep 292013

Consider this set of facts about my own fiction, reader. I seem to have a lot of characters who, most of them attractive young women who one way or another, manage to bring about their own ends, in a spectrum of possibilities the “nice” end of which involves a transformation so dramatic that they have completely departed from their previous existence and in the not-so-nice end of which they are basically annihilated. Ashley Madder, in The Apsinthion Protocol, was perhaps the first of these to go. Her transformation into a statue of herself was certainly unexpected, although there are hints in the text that perhaps this was something she may have wanted to happen. Nanetta Rector and Moira Weir in the end put themselves through a one-way liquification process from which it seems unlikely that they will ever return. Li Anwei at the end of that first volume is clearly undergoing some sort of bodily transformation and chooses to disappear into the sea, thus departing from human society. And the departures continue in later volumes: the minor character of Donna in Bridget O’Brian’s narration in Study Abroad, chooses to enter the Kupler-controlled sexual underworld without the possibility of self-extrication, surrendering her fate to those who control it. In the same volume, Iris Brockman gives up her life in the Club Cuisine and only “gets it back” under strange and questionable circumstances. Maureen Creel does something similar at the end of Invisible Girl, Heroine. John Samson, transformed into an enslaved female submissive in her own mind at the end of Gnosis Dreamscapes chooses to remain in that dream realm rather than wake up.

Those are examples from the recent past, and looking ahead to what I have planned out for the future I see much more of the same. Judging by the obsessive amount of energy I pour into the matter, I seem to be fulfilling some deep psychic — and probably erotic — need with stories whose protagonists make ultimate sacrifices for erotic ends. For lack of a better word I call this phenomenon “punching your own one-way ticket.” I have to wonder to myself what is going on here? Do I need a Thanatophile Manifesto to go along with my Thaumatophile Manifesto?

I can’t claim to have any real answer to the question of why I have the kinks I do and I’m not sure anyone else does, either. But science cannot begin without either observation or conjecture, and so I’m willing to gather a little data and do a little bit of self-searching (and perhaps self-lacerating) speculation.

To the end of doing this I’ve had the help of an excellent friend, Bacchus of ErosBlog, who took on a large Rule 34 research commission from me to find other examples of one-way ticket-punching. I placed this commission in the conviction that encounters with art can awaken things in one did not know — or best barely knew — were there. As usual, Bacchus did not disappoint.

“Volunteer” by ~makar013 at DeviantArt, an image found by Bacchus as part of his Rule 34 commission.

I’ll integrate some of Bacchus’s results with my own speculations over a series of posts for the next few days. I hope that it will at least make for some interesting reading. And who knows, perhaps it might also help advance the psychology of perversion one more inch.

Nov 262011

I’d be a bit dismayed, too.

Bridget distracted from the crucifixion by a giant orgy.

(Click on the image for larger size. Creative Commons License
Study Abroad: Chapter Two, Page Twenty-Eight written and commissioned by Dr. Faustus of and drawn by Lon Ryden is published under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.)

Nov 252011

Uh oh.

(Click on the image for larger size. Creative Commons License
Study Abroad: Chapter Two, Page Twenty-Seven written and commissioned by Dr. Faustus of and drawn by Lon Ryden is published under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.)

Oct 292011

If freedom means anything, it means freedom to blaspheme.  This one explores matters using a theme we’ve seen before here at Erotic Mad Science, and will see again.

Found at the tumblr “Art of an explicit or erotic nature.”  Talk about exactly what it says on the tin

Mar 252011

KristinF has worked up a doozy of a bespoke art set-piece from a bit of comics script I was once working on, coming up with a gritty, scary, sexy, dieselpunk environment in which something very mad science is taking place.

Naked crucified Edith Sterling begins a mad science transformation

(Click on the image for full size. Creative Commons License
Edith Sterling’s Transformation Begins by KristinF and commissioned by Dr. Faustus of is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.)

The script is Teuthology and the basic story is that Edith Sterling an assistant professor of inveterate biology at Gnosis College, summoned by the government to help clean up after a mad-science experiment disrupted by the authorities, has agreed to undergo a version of the experiment in hopes of being able to reverse its effects on the mad scientist’s previous victims.  She’s naked because she needs to soak up a lot of special radiation that will effect her transformation from woman to octopus (note the receiving tank of fluid beneath her).  And she’s crucified because…well, that’s the way the mad scientist did his other victims, and you don’t want to tamper with mad science procedures more than you have to!

Edith is being watched here by a naval officer and his chief scientist, neither of whom appears to have had the courage to show up naked for the proceedings.  Perhaps unsurprisingly, Edith in the script takes a pretty dim view of being on display here.


View up Edith, ¾ behind, upper half. We can see her head slumped down.

Caption (1): Great Cthulhu, this hurts.

Caption (2): Small wonder crucifixion is associated with matrydom.


View of Edith’s bare midsection. Two “ray-gun” like objects are in the frame, pointing at her. (SFX: WHRRR)

Caption (3): It wasn’t even obvious that this part of the ordeal was necessary. It might just have been sadism on Dr. Sin’s part. But I don’t want to deviate unnecessarily from…


View of Shackleford and Chen. They are both wearing radiation suits and dark goggles.

Caption (4):  Aw, crap.

Shackleford (5):  Everything all right, Professor Sterling?


Close-up on Edith’s face.  She is showing an expression of grim determination.

Caption (6):  He isn’t here out of scientific interest. Or out of compassion for me.

Caption (7):  He likes seeing me like this.

Caption (8):  Asshole.

We can but sympathize.  (It should be noted, though, that Edith is actually looking forward to becoming an octopus, even if no one else in the story knows this.)  Though perhaps if Edith had read this rather remarkable blog entry and picked up the right fetish, she might have had a different hedonic take on the mad-science proceedings…


Aug 292010

Script for today:

Page 19

Close up showing only one of Taylor’s hands.  It is clutching at the ground in a futile attempt to prevent Taylor from being dragged back.

TAYLOR (out-of-panel balloon): No…no…no…

View of Taylor scrabbling at the edge of the open grave, his face frozen in mute horror.

This panel is a P.O.V. of Taylor’s.  Most of it is black, but there is a rectangle in the middle, showing some sky or other feature, which is what Taylor can see out of the open grave he has been dragged into.

CAPTION: There is no fear like this.

Same view as previous panel, except that the rectangle is smaller, as if Taylor has been dragged still deeper into the grave.

CAPTION: I love you, Marie.

This panel is solid black.

Taylor’s P.O.V., except that he his now looking up at the ceiling of Professor Waite’s lab.

Page 20

A view inside another part of Professor Waite’s laboratory.  This is a room filled with monitors and computers of various kinds.  We see LITTLE WILLIE in profile sitting on a high stool, looking at a computer monitor.

LITTLE WILLIE: Wow. Kid really hangs tough.

A view back inside the laboratory bedroom.  Taylor is sitting up on the side of the bed.  He is naked, but is covering his lap with the sheets.  Jill sits beside him.

TAYLOR: Was that really necessary?

JILL: Let me tell you something, Taylor.

This panel depicts a flashback (to the quasi-screenplay Invisible Girl, Heroine).  The panel is divided by a “cutaway” of a wall.”  Part of the wall is a bondage-like device similar to the “stocks” through which Jill’s (Jill-Prime’s technically) head and hands project.  In a room on this side of the wall sits DR. STRANGEWAYS, who is sitting in a rocking chair and smiling sardonically.  Jill’s face registers a look of shock and pain.  On the other side of the wall is the rest of Jill, on her knees and bent over.  She is bound by her ankles, and naked.  CONGRESSMAN THROTTLEBOTTOM, his pants down, is pentetrating her anally from behind.

CAPTION: The outside Gnosis College is a surpassingly cruel and dangerous place.  I know this from experience.

This panel is also a flashback, showing the murder of Jill (Jill-Prime, technically) from Gnosis Dreamscapes.  We see only her bound hands in the air, and the main rope (from which the rest of Jill is hanging).

JILL: Getting killed is a real possibility too. And believe me, you don’t want to know how well I understand this either.

Page 21

This page should recap the large orgy scene from the “Odalisque” segment of Study Abroad.  It should be set in some sort of grand Moorish space full of cushions, divans, fountains, etc.  Looming over the panel should be the crucified girl LUDMILLA, while in the foreground we should see both BRIDGET O’BRIAN and DONNA in double rear-entry/performing fellatio poses.  Around the rest of the panel, various other naked people engaged in sex acts and debauchery.

CAPTION: Bridget was involved in stuff with the Kupler organization before.  The tales were not for the faint of heart.

CAPTION: We need someone who’s really tough…

CAPTION: …and committed.

Committed is needed indeed, given the scary things that can happen to you in the Gnosis fictional world, some of which this particular section of script gave me the opportunity to revisit.

The fate of helpless Ludmilla gets an artistic nod from Hajime Sorayama.

Found on the oddly-named Portuguese-language blog Sem Pénis Nem Inveja, which contains lots of nice art and photography.

Jul 142010

Script for today:

Page 19

View of Edith, lying on her back underneath some sort of panel. Lots of wires hang down. Edith is holding a flashlight in her mouth pointed up, and she is reaching up into the mess of wires and electronics.

CAPTION (Edith thinking): Properly handling the data…

Close up Edith’s P.O.V. In the mass of wires we saw in the previous panel. We can see her gloved hands, each holding a piece of cable, one of which is run into an adapter.

CAPTION (Edith thinking): …that involves a special arrangement…

Even closer P.O.V. On the two ends of cable, which have just been joined into the adapter.

SFX: Snap!

CAPTION (Edith thinking): ….which I must take care of myself.

“From above” view. Edith is strapped, naked, to the cruciform gurney. Various IV lines run into her and she is also wired up to a variety of sensors. Chen stands at her side, holding a clipboard.

CAPTION (Edith thinking): At long last, the time comes to undertake a most difficult experiment…

CHEN: Are you sure you want to go through with this, Professor Sterling.

Page 20

Close up on Edith’s face. She has turned her head to the side.

EDITH: Let’s do this thing…

Full-length view of Edith on the gurney, which is tilting upward. Edith is beginning to hang down by her bonds.

EDITH: Unngggh…..

Head-and-shoulders view of Chen, who is looking backwards and pointing.

CHEN: Initiate sequence alpha

View of a hand, throwing some sort of large switch.

SFX: Whrrrr….

Page 21

View up Edith, ¾ behind, upper half. We can see her head slumped down.

CAPTION (Upper, Edith thinking): Great Cthulhu this hurts.

CAPTION (Lower, Edith thinking): Small wonder crucifixion is associated with martyrdom.

View of Shackleford and Chen. They are both wearing radiation suits and dark goggles.

CAPTION (Edith thinking): Aw, crap.

SHACKLEFORD: Everything all right, Professor Sterling?

View of Edith’s bare midsecdtion. Two “ray-gun” like objects are in the frame, pointing at her.

SFX: Whrrr

CAPTION (Edith thinking): It wasn’t even obvious that this part of the ordeal was necessary. It might just have been sadism on Dr. Sin’s part. But I don’t want to deviate unnecessarily from…

Close up on Edith’s face. She is showing grim determination.

CAPTION (Edith thinking): He isn’t here out of scientific interest. Or out of compassion for me.

CAPTION (Edith thinking): He likes seeing me like this.

CAPTION (Edith thinking): Asshole.


What a nasty thing Edith has put herself up for! There are so many images of crucified women out there. Two examples (which could be multiplied manyfold), both from Janitor of Lunacy:


And from such different cultural backgrounds and artistic traditions as well.

Be ashamed, O humanity. Be very ashamed.


Jun 072010

For the longest damn time I had a visual image of the sort of thing that poor Marie gets bound into and rolled away in, but had no damn idea what it was called.  I had vague memories of seeing them in at least one Janet Jackson video and perhaps a martial arts movie or two, but was still clueless.  But thanks to a searchable Internet, I know now.  It’s called a rhönrad, and it’s a gymnastic device invented in Germany in the 1920s.  It looks like a remarkably tricky gymnastic discipline.

(Image source this Dutch-language page.)  Using these things is a real sport with a real international organization devoted to them.

Which is not to say that they aren’t sometimes used for cheesecake appeal.  Note this vintage image.

Chorus girls in ‘Rhonrad’ wheels roll across Bondi beach,” Flickr image from here.

Now Marie’s wheel isn’t for cheesecake or for gymnastics.  She’s bound in it to be humiliated and disoriented (more than she already is), and for this I must admit a rather different, but still real-world inspiration, which is this:

This is an illustration of something called “Field Punishment No. 1,” and it really was used as a form of military discipline on British soldiers in the First World War.  (The illustration above is from the website of the Canadian War Museum.)  It involved strapping a soldier motionless to something like a wheel or a fence for two hours.  Very unpleasant if you have to itch, which given the ubiquity of things like lice in a trench environment meant often.  The punishment was common enough for Paul Fussell to conjecture in The Great War and Modern Memory that it might have been a source for common Great War urban legend:  “the myth of the Crucified Canadian.”

Funny given all that that an attempt to find something that answered to the description of “rhönrad bondage” came up empty.  (Might just be too damn impractical, even for a rhönrad on flanged wheels to prevent tipping or escape like Marie’s.) But I did encounter this curious image at what appears to be a German-language bellydance site, which does seem to fit the overall theme.

Bet you wish you could have seen how all that was put together!

Feb 282010

I didn’t construct this scene in Study Abroad with all that much foresight; it was just something that boiled up from the darker regions of my mind and onto the page.  On looking back after writing I did think “By Great Cthulhu this one will annoy all sorts of folks.”  (Among other things it is quite the act of blasphemy, against at least two major religions.  Perhaps I shall soon be facing prosecution in Ireland.)  I toyed with the idea of taking it out, but eventually decided that it made more sense to leave it in.  Not only does it make a significant point (and prefigure menaces that will become more manifest in later scripts), but it draws on its own significant artistic tradition, whether people like it or not.

I have speculated before about the existence of an inner connection between sadistic spectacle and a certain kind of spirituality. And you needn’t take my own word for it; you can attend to those of Thomas Aquinas, that celebrated Saint and Doctor of the Church, who tells us in all seriousness “Beati in regno coelesti videbunt poenas damnatorum, ut beatitudo illis magis complaceat.”  (See one F. Nietzsche, Zur Genealogie der Moral, I.15.) If that sentiment doesn’t disturb you more than anything else you see in the post, you might want to sit down and meditate quietly on your values for a while. (It’s possible that Nietzsche didn’t get the wording quite right but he was dead-on correct in diagnosing the sentiment.  As he will remark later on, “…alle Religionen sind auf dem untersten Grunde Systeme von Grausamkeiten.”)

In an event, you can certainly look into art history and find images similar to what appeared in my scene, whether as images of pious martyrdom or voluptuous cruelty (or, if I am right if I am right about the connection between the two, both).

Since there is probably no image quite as broadly distributed as that of crucifixion in Europe (Catholic Europe especially), it is hardly surprising that it will crop up all over the culture, for example in the rumor of the Crucified Canadian that was common in British trenches in the First World War.  And since it is a sacred symbol, it is hardly surprising that there were illustrators willing to repurpose it for especially transgressive pornographic purposes, e.g.

And that the idea would spread far in time, eventually all the way to Japanese cinema.

And, in the end, become an object even of eroticized satire, drawing on the artistic conventions of anti-Semitic caricature as in this part of Phoebe’s “backstory” from The Adventures of Phoebe Zeit-Geist. (And yes, based on the context in which the image appears, I really am sure it is meant as satire.)

And so now, with the help of Springer and O’Donoghue, I’ve blasphemed against all the Abrahamic religions.

But if I can’t be transgressive, then what am I doing here?

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