Monthly Archives: December 2019

Aprenda português II: A Isca 001

Uma aurora fatídica nos mares do sul.

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PAGE 1 (Four panels)

Panel 1: CAPTAIN IVAN DRUMMINGDALE (“Drummingdale’) stands at the bow of his ship, the RV SEAGOON. Drummingdale is a gaunt, tall, naval-looking man. He wears a short-sleeved white shirt with captain’s epaulets and a seaman’s cap. It is dawn in the tropics. Drummingdale is staring out to sea and speaks without turning around.

Drummingdale (1): You’re up early today, Professor Turpentine.

Translation (1): Acordou cedo hoje, Professor Turpentine.

Panel 2: Drummingdale stands on the rail next to PROFESSOR EUSTACE TURPENTINE (“Turpentine”). Turpentine is a short, fat man with a white mustache and a white fringe of hair around a head which would otherwise be bald. However in this panel he is wearing a pith helmet and a twin-pocketed shirt. He looks relaxed. Drummingdale, still staring over the rail out to sea, looks anything but.

Turpentine (2): It’s a big day for us, Captain Drummingdale. Our first attempt.

Translation (2): É um grande dia para nós, Capitão Drummingdale. Nossa primeira tentativa.

Drummingdale (3): Oh, aye.

Comment (3): “Aye” is “yes” with an archaic or maritime flavor. To to the extent possible, the translation should reflect this.

Translation (3): Drummingdale (3): Ah, é sim.

Panel 3: Close-up on Drummingdale’s face. His jaw is clenched.

Drummingdale (4): Can’t say I approve of what you’re going to put those girls through.

Comment (4): “Can’t say” here means “I can’t say.”

Translation (4): Não posso dizer que aprovo o que você vai fazer as meninas passarem.

Panel 4: Close-up on Turpentine, though not quite as close up as on Drummingdale in the previous panel. Turpentine’s expression is one of jolly unconcern.

Turpentine (5): They both signed the release, Captain.

Turpentine (5): A “release” in this context is a legal document in which one person agrees not to sue another person for certain damages that might be incurred in an activity both are involved in.

Translation (5): Ambas assinaram a autorização, Capitão.

Turpentine (6): They understand what they’re doing.

Translation (6): Elas estão cientes do que estão fazendo.

  A Isca (Português/Versão em página longa)
A Isca (Português/Versão em carrossel)

Sea Witch

Something nice in the readers’ stockings in the form of another exquisite Virgil Finlay Weird Tales cover, this one for December 1937. Finlay had a standalone interior illustration in this issue, a real graveyard honey.

“And ere the tomb-thrown echoings have ceased,/The blue-eyed vampire, sated at her feast/Smiles bloodily against the leprous moon. ” –Sterling, A Wine of Wizardry

Finlay took on more usual interior illustration duties as well, such as this flame-dancer for Seabury Quinn’s “Flames of Vengeance.”

“A line of flame was rising, flickering, and dancing.”

This issue of Weird Tales is available to read and download at the Internet Archive.

Aprenda português I: A Isca 000

Uma bela jovem é sugada à própria perdição nas profundezas.

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This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

COVER: Same Fabulae Atroces Fausti logo as appeared on “She’s the Ransom,” over another bit of neo-pulp, in this case a young woman swimmer in a 1940s-style swimsuit and hairstyle being menaced underwater by tentacles coming up from the deep. There some be if feasible some bubbles to emphasize the underwater.

CAPTION (title) (1): “Bait”

Translation (1): “A Isca”

CAPTION (author) (2): Written and produced by Iago Faustus

Comment (2): “Produced” in this context means that Faustus paid an artist’s commission to Erosarts for his services in doing the illustration and also arranged for the publication of the webcomic.

Translation (2): Escrito e produzido por Iago Faustus

CAPTION (artist) (3): Illustrated by Erosarts

Translation (3): Ilustrações de Erosarts

  A Isca (Português/Versão em página longa)
A Isca (Português/Versão em carrossel)

Aprender español XL: Carnada 097-100

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This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

PAGE 97 (Three panels)

Panel 1: Underwater robot removing the cuff from the Creature’s feeding siphon.

CAPTION (1): And so, within a few days…

Translation (1): Y entonces, dentro de unos pocos días…

Panel 2: Chiba standing naked on a diving platform over the tank.

Panel 3: Chiba in mid-air in her dive into the tank, just about to break the surface of the water.

PAGE 98 (Single panel montage, color)

Single panel montage: At artist’s montage of Chiba becoming progressively tentacle sexed-up.

PAGE 99 (Single panel montage, color)

Single panel montage: Artist’s discretion showing Chiba going down the Creature’s feeding siphon.

PAGE 100 (Two panels)

Panel 1: A larger panel comprising most of the page. A man sitting on a simple chain on the floor of the Marine Institute, watching the very special show. He is wearing a suit, and we can see through his suit pants that he has a massive erection.

Panel 2: Smaller, inset, showing light on the face of the man, who we can now see (due to the prominence of his Distinguishing Feature) is Barron Petrobux, Jr. The face shows a blissed-out expression.

CAPTION (1): The end.

Translation (1): FIN.

END.

  Carnada (Español/Versión de página larga)
Carnada (Español/Versión deslizante)

Daughter of Irma Vep

This early (October 1933) Margaret Brundage Weird Tales cover might be among he most iconic images. Jayem Wilcox provides some interesting (and perhaps unfortunate) interior illustration to Robert E. Howard’s story “The Pool of the Black One.”


“Across the grassy level a giant black was striding, carrying a squirming captive under one arm.”

This issue of Weird Tales is available for reading and download at the Internet Archive.