The tenth in the illustration series Toozie’s Sacrifice The series was commissioned by me and done by the artist Dark Vasili. It is concept art for a screenplay on which I am working with the tentative title of Auto-Icon.
f you support this artist on patreon as I do, you can get access to the artist’s galleries of exquisitely-rendered (some of it very NSFW) work.
This image is available in high resolution: click on the image to load or right-click to download.
Please do not republish this image or create derivative works from it or the story of which it is part without my permission.
If you want or need to, you can catch up on the entire story to date by either going to the first page and navigating through page-by-page using the arrows at the top, or you can read the story ten pages at a time by opening the Learning from Elders category on this site.
Panel 1: Still in the same apartment where the interview is taking place, but Eliza is now on tiptoes taking a heavy book down from a a high shelf.
Unseen interviewer (1): Seriously, aren’t you afraid?
Translation (1): Haben Sie denn keine Angst?
Eliza (2): I have something to make the fear go away. Have you heard of the Roman poet Lucretius?
Translation (2): Ich weiß, wie ich die Angst besiege. Kennen Sie den römischen Dichter Lucretius?
Panel 2: Close-up around some text, the following lines from Lucretius’s De rerum natura, set in a very old typeface or (better if possible) as medieval manuscript: “respice item quam nil ad nos ante acta vetustas/temporis aeterni fuerit, quam nascimur ante./hoc igitur speculum nobis natura futuri/temporis exponit post mortem denique nostram.“
CAPTION – ELIZA NARRATING (3): He explains that we didn’t exist for an eternity before being born, and that wasn’t bad. So why should it be bad once we stop existing?
Translation (3): Er sagt, dass wir vor unserer Geburt nicht existierten, und das war nicht schlecht. Warum sollte es also schlecht sein, wenn man nicht mehr existiert?
Panel 3: Eliza, now sitting cross-legged in her big wicker chair. She has the large book she brought down in Panel 1 resting open on her lap. She’s pointing down at something on a page.
Unseen interviewer (4): And you buy that?
Comment (4): “And you buy that?” is an idiom in American English, the literal meaning of which is “Do you really believe that?”
Translation (4): Und das glauben Sie?
Eliza (5): It’s what David Hume told James Boswell as Hume was wasting away, about to die. But Hume was calm and even told jokes.
Translation (5): Das sagte auch David Hume zu James Boswell, als Hume auf dem Sterbebett lag. Doch Hume war ruhig und erzählte sogar Witze.
Panel 4: Eliza looking down at the page of the book open on her lap, reading.
Eliza (6): From Boswell’s account: “I asked him if the thought of annihilation never gave him any uneasiness. He said not the least; no more than the thought that he had not been, as Lucretius observes.”
Comment (6): Eliza is quoting from a real literary work, James Bosewell’s Life of Johnson. If there is a public domain version of the Life in your target language, you are encouraged to substitute its text for your own translation.
Translation (6): Wie Boswell schreibt: “Ich fragte ihn, ob der Gedanke an die Entwerdung ihm kein Unbehagen bescherte. Er sagte jedoch, dies sei mitnichten der Fall; nicht mehr als der Gedanke, niemals existiert zu haben, wie ihn Lucretius denkt.”
The ninth in the illustration series Toozie’s Sacrifice The series was commissioned by me and done by the artist Dark Vasili. It is concept art for a screenplay on which I am working with the tentative title of Auto-Icon.
f you support this artist on patreon as I do, you can get access to the artist’s galleries of exquisitely-rendered (some of it very NSFW) work.
This image is available in high resolution: click on the image to load or right-click to download.
Please do not republish this image or create derivative works from it or the story of which it is part without my permission.
If you want or need to, you can catch up on the entire story to date by either going to the first page and navigating through page-by-page using the arrows at the top, or you can read the story ten pages at a time by opening the Learning from Elders category on this site.
Panel 1: Eliza in her wicker chair, being interviewed. She looks like she’s listening intently to to the interviewer’s question.
Unseen interviewer (1): I suppose I can understand your interest in…unusual experiences, but still, this would be your last such experience.
Translation (1): Ich glaube, ich kann nachvollziehen, warum Sie an…ungewöhnlichen Erfahrungen Interesse haben. Allerdings könnte das Ihre letzte Erfahrung sein.
Eliza (2): That’s right.
Translation (2): Das stimmt.
Panel 2: Eliza stretched out on her wicker chair, one leg extended long, her hand settled between her legs.
Eliza (3): But perhaps instead of a long string of experiences, a string that’s just going to diminish in quality as I get older and older, I might want to have one experience that surpasses them all.
Translation (3): Doch vielleicht wünsche ich mir statt einer langen Anreihung von Erfahrungen, die umso mehr in Vergessenheit geraten, je älter ich werde, eine einzige Erfahrung, die alle anderen übertrifft.
Panel 3: Close-up on Eliza’s face. Her eyes are closed.
Eliza (4): It sort of gets me hot just thinking about it.
Comment (4): “Gets me hot” is a colloquial expression meaning “causing me to be sexually aroused.”
Translation (4); Es erregt mich schon, wenn ich nur daran denke.
The eighth in the illustration series Toozie’s Sacrifice The series was commissioned by me and done by the artist Dark Vasili. It is concept art for a screenplay on which I am working with the tentative title of Auto-Icon.
f you support this artist on patreon as I do, you can get access to the artist’s galleries of exquisitely-rendered (some of it very NSFW) work.
This image is available in high resolution: click on the image to load or right-click to download.
Please do not republish this image or create derivative works from it or the story of which it is part without my permission.
If you want or need to, you can catch up on the entire story to date by either going to the first page and navigating through page-by-page using the arrows at the top, or you can read the story ten pages at a time by opening the Learning from Elders category on this site.
Panel 1: Identical panel to Page 4, Panel 2 above, except that one of the young women participating in the ritual of drawing has had a circle drawn around her head. An arrow is additionally drawn pointing to the circle.
CAPTION – PSEUDO-NARRATION (1): In a stroke of amazing luck, researchers were able to find one of the original native women filmed by the Scelleratini brothers and interview her on camera.
Translation (1): Nach einigen glücklichen Entwicklungen konnten die Forscher eine der eingeborenen Frauen aus dem Film der Brüder Scelleratini ausfindig machen und vor der Kamera mit ihr sprechen.
Panel 2: The girl from Panel 1, now an ancient, withered old woman of about 95 (“The Ancient.”) She is sitting in a simple chair and is dressed in a plain gray cotton dress.
The Ancient (2): Ketiap sembilan belas tahun, sang dewa akan datang dari kedalaman. Jika kami memberikan pengantin untuknya, ia akan memberkati para penduduk dengan kesehatan yang baik dan ikan yang melimpah.
SUBTITLE – TRANSLATING THE ANCIENT (3): Every nineteen years, the god would come from the depths. If we gave him brides, he would bless our people with good health and abundant fish.
Note (3): If the target language is Bahasa Indonesia, a translation of (3) should be omitted.
Translation (3): Alle neunzehn Jahre erschien der Gott aus der Tiefe. Wenn wir ihm Bräute gaben, segnete er unser Volk mit Gesundheit und reichen Fischgründen.
Panel 3: Same as Panel 2, but a slightly different pose.
Unseen Interviewer (out-of-panel balloon) (4): Apakah ada gadis yang takut terpilih?
The Ancient (5): Tidak ada yang takut. Kami semua ingin dipilih.
SUBTITLE – TRANSLATING THE UNSEEN INTERVIEWER (6): Were any of the girls afraid of being chosen?
Note (6): If the target language is Bahasa Indonesia, a translation of (6) should be omitted.
Translation (6): Hatten die Mädchen Angst davor, ausgewählt zu warden.
SUBTITLE – TRANSLATING THE ANCIENT (7): No one was afraid. We all wanted to be chosen.
Note (7); If the target language is Bahasa Indonesia, a translation of (7) should be omittted.
Translation (7): Nein, niemand. Wir alle wollten ausgewählt warden.
Panel 4: Same as Panel 3, but a slightly different pose.
The Ancient (8): Dewa dari kedalaman akan mencintai pengantinnya dengan cinta yang jauh melebihi cinta yang dapat diberikan pria mana pun kepada seorang wanita. Ini membuatnya layak untuk dilakukan, sekalipun sang dewa akan memakanmu.
SUBTITLE – TRANSLATING THE ANCIENT (9): The god of the depths would love his brides with a love far surpassing that which any man could show a woman. That made it worthwhile, even if he would eat you.
Note (9): If the target language is Bahasa Indonesia, a translation of (9) should be omitted.
Translation (9): Der Gott der Tiefe liebte seine Bräute weit mehr als je ein Mann eine Frau lieben könnte. Das machte es lohnenswert, auch wenn er dich auffraß.
The seventh in the illustration series Toozie’s Sacrifice The series was commissioned by me and done by the artist Dark Vasili. It is concept art for a screenplay on which I am working with the tentative title of Auto-Icon.
f you support this artist on patreon as I do, you can get access to the artist’s galleries of exquisitely-rendered (some of it very NSFW) work.
This image is available in high resolution: click on the image to load or right-click to download.
Please do not republish this image or create derivative works from it or the story of which it is part without my permission.
