Another tube girl fan!

It is with pleasure that I learned today that LN Bey, a writer and fan of BDSM and S/M erotica, is also a tube girl fan, and just yesterday contributed a post about the trope, containing both intelligent critical discussion and several of the finer historical examples of the trope (as well as some surprising contemporary ones as well). I encourage you to follow the link above and check it out.

Oh and by the way, LN, here’s one for your enjoyment, spawned from one of your historical examples, but given a contemporary feel by the artist.

Naked girls in tubes subject to fiendish experiments by a mad scientist. Art by Frans Mensink.

The art is by Frans Mensink, of course and originally appeared here at Erotic Mad Science back in 2014.

Aprender español XXVIII: Carnada 027

Para atrapar al monstruo marino, necesitas una carnada.

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PAGE 27 (Four panels)

Panel 1: Turpentine and Claudia stand in front of the vague underwater image of the creature, illuminated with a lightbox as if it were an X-Ray. Both are wearing white coats. Turpentine is pointing to the large siphon-like structure.

Turpentine (1): So, I suppose this structure is actually a specialized feeding orifice.

Translation (1): Supongo que esta estructura es en realidad un orificio de alimentación especializado.

Claudia (2): When you’ve eliminated all the other possibilities, what remains, however implausible…

Translation (2): Cuando eliminas todas las otras posibilidades, lo que queda, por muy improbable que sea…

Panel 2: Turpentine back in his office, being interviewed.

Turpentine (3): Combining what we know from the native folklore and observed behavior and morphology, we seem compelled to conclude that every nineteen years, this creature comes near the surface and wants to eat young women.

Translation (3): Combinando lo que sabemos del folclore indígena y el comportamiento y la morfología observados, nos vemos obligados a concluir que cada diecinueve años, esta criatura sale a la superficie y quiere comer mujeres jóvenes.

Panel 3: A closer-in view of the mass of tentacles in the underwater image.

CAPTION – TURPENTINE NARRATING (4): It enmeshes them in tentacles, stimulates them, and eats them. We have no idea why.

Translation (4): Las envuelve en sus tentáculos, las estimula y las come. No sabemos por qué lo hace.

CAPTION – TURPENTINE NARRATING (5): Our methods to capture or closely study it have hitherto all failed.

Translation (5): Nuestros métodos para capturarlo o estudiarlo de cerca hasta ahora han fallado.

Panel 4: Turpentine in his office, being interviewed.

Turpentine (6): We have been pushed to the conclusion that if you want to hook a fish, you have to have…bait.

Translation (6): Hemos llegado a la conclusión de que si quieres atrapar a un pez, debes tener… carnada.

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

Aprender español XXVII: Carnada 026

La tecnología avanza en la lucha contra el monstruo de tentáculos.

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PAGE 26 (Four panels)

Panel 1: Professor Turpentine, sitting in a cramped academic office. Behind him are shelves stacked with books and papers. He’s wearing a rumpled tweed jacket and being interviewed behind his desk.

Turpentine (1): This creature, whatever it is, is highly intelligent. It can evade ordinary capture methods with ease. It also generates electromagnetic and subsonic fields that interfere with underwater communications. And it even cuts control cables.

Translation (1): Esta criatura, sea lo que sea, es muy inteligente. Puede evadir con facilidad los métodos comunes de captura. También genera campos electromagnéticos y subsónicos que interfieren con las comunicaciones bajo el agua. E incluso corta los cables de control.

SUBTITLE (2): Professor Eustace Turpentine, Innsmouth Institute for Marine Research.

Translation (2): Profesor Eustace Turpentine, Instituto de Investigación Marina de Innsmouth.

Panel 2: CLAUDIA HONEYWOOD (“Claudia”) holds in her hands a submersible drone – and underwater swimming robot about the size of a toaster, in her hands, holding it forth for the camera to take a picture of. Claudia is a very attractive woman, but she downplays her attractiveness, being here in a set of coveralls, her long brown hear drawn back in a bun, and here wearing heavy safety glasses. (When Claudia is not wearing these glasses she wears other glasses that make her look a bit dorky, or at least as dorky as a beautiful person can be.)

CAPTION – TURPENTINE NARRATING (3): But recently, artificial intelligence has advanced to the point where we can make effective autonomous underwater drones.

Translation (3): Pero recientemente, la inteligencia artificial ha avanzado hasta el punto en que podemos hacer drones submarinos autónomos eficientes.

Panel 3: Claudia on board ship in another cramped control room, this time also looking at a monitor. Claudia is now dressed in a white coat and is wearing glasses with heavy dark frames.

CAPTION – TURPENTINE NARRATING (4): The creature leaves the drones alone for some reason. These drones can also penetrate the deep trenches where the creature likes to lurk.

Translation (4): A la criatura no parecen molestarle los drones por alguna razón. Estos drones también pueden adentrarse en las fosas profundas donde le gusta ocultarse a la criatura.

Panel 4: A murky image of the creature, a sort of giant squidlike thing with one large siphon (big enough for someone to fit down) and a large number of tentacles of all sorts and shapes.

CAPTION – TURPENTINE NARRATING (5): Thanks to these clever little machines, we now have a good sense of the gross morphology of the creature.

Translation (5): Gracias a estas pequeñas máquinas inteligentes, ahora tenemos una idea de la morfología general de la criatura.

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

Suiting up

The May 1953 cover of Startling Stories by Walter Popp might not be the most distinguished entry in the pulp cover canon, even in the somewhat-improved quality available at via the Internet Speculative Fiction Database:

The issue is well worth attention, though, thanks to two outstanding examples of Virgil Finlay’s work, illustrating Fletcher Pratt’s story “The Conditioned Captain.” First here:

And then here:

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

Aprender español XXVI: Carnada 025

Tal vez la ciencia pueda hacer algo con respecto al monstruo de tentáculos.

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PAGE 25 (Four panels)

Panel 1: A U.S. Navy corvette cruising by Motofupo.

CAPTION – PSEUDO-NARRATION (1): The Navy searched the waters around the spot of Phoebe Petrobux’s disappearance but could find nothing.

Translation (1): La Marina buscó en las aguas cercanas al lugar de la desaparición de Phoebe Petrobux, pero no encontraron nada.

Panel 2: Barron Sr., looking proundly aged, is sitting at his ornate desk in his office. He is holding a pen and looking down at a document in the middle of his desk, holding a pen in one hand and about to sign. Over one shoulder a HIGH-PRICED LAWYER is pointing to where on the document he should sign. Barron Jr., now about fourteen years-old, looks on over his father’s other shoulder. We should be able to see Barron Jr.’s Distinguishing Feature.

CAPTION – PSEUDO-NARRATION (2): A bereaved Barron Petrobux set aside a large part of his wealth to create a foundation to study and attempt to capture whatever creature had taken away his daughter.

Translation (2): El afligido Barron Petrobux reservó una gran parte de su riqueza para crear una fundación para estudiar e intentar capturar al monstruo que se había llevado a su hija.

Panel 3: A group of scientists pushing a large unmanned submersible off the back of a small research ship in the waters around Motofupo.

CAPTION – PSEUDO-NARRATION (3): At the next nineteen year-interval, in 2000, a team of scientists attempted to find the creature when it was expected to rise again.

Translation (3): Diecinueve años más tarde, en el año 2000, un equipo de científicos intentó encontrar al monstruo cuando se esperaba que volviera a aparecer.

Panel 4: Two scientists in white coats staring at a screen in a control panel, inside a cramped research vessel cabin. One is seated, the other looking over the should of the other, taking notes. The seated one is throwing up his hands in frustration.

CAPTION – PSEUDO-NARRATION (4): The results of the scientists’ research were inconclusive and frustrating.

Translation (4): Los resultados de la investigación de los científicos fueron inciertos y frustrantes.

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