A jolt of current starts the process of Pamela’s transformation.
The overall action in this illustration series is described in a fragment of draft screenplay, which you are welcome to download if you are interested in such things. This image is available in a much larger size. Right-click to download.
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: 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): Oggi si è alzato presto, Professor Trementina.
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): È un grande giorno per noi, Capitano Drummingdale. È il nostro primo tentativo.
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): Oh, sì.
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): Non posso dire di approvare quello che vuoi far passare attraverso quelle ragazze.
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): Entrambe hanno firmato la liberatoria, Capitano.
Turpentine (6): They understand what they’re doing.
Translation (6): Capiscono quello che stanno facendo.
Under the glass bell of the transformation device.
The overall action in this illustration series is described in a fragment of draft screenplay, which you are welcome to download if you are interested in such things. This image is available in a much larger size. Right-click to download.
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.
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): “Esca”
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): Scritto e prodotto da Iago Faustus
Audience reaction to Pamela’s unashamed self-display is rather mixed.
The overall action in this illustration series is described in a fragment of draft screenplay, which you are welcome to download if you are interested in such things. This image is available in a much larger size. Right-click to download.
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: Underwater robot removing the cuff from the Creature’s feeding siphon.
CAPTION (1): And so, within a few days…
Translation (1): Então, alguns dias mais tarde…
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.
The overall action in this illustration series is described in a fragment of draft screenplay, which you are welcome to download if you are interested in such things. This image is available in a much larger size. Right-click to download.