Aprender español II: Carnada 001

Un ominoso amanecer sobre los mares del sur.

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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): Hoy te levantaste temprano, profesor 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): Es un día importante para nosotros, capitán Drummingdale. Nuestro primer intento.

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): Así es.

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): A decir verdad, no me gusta lo que les vas a hacer pasar a esas chicas.

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.

Comment (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 firmaron el descargo de responsabilidad, capitán.

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

Translation (6): Entienden lo que están haciendo.

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

Aprender español I: Portada

Una chica hermosa se siente atraída por sua perdición en el profundo.

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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): “Carnada”

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): Escrita y producida por Iago Faustus

CAPTION (artist) (3): Illustrated by Erosarts

Translation (3): Ilustrada por Erosarts

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

Early tube girl in an unusual source

A. Merritt’s Fantasy Magazine was a very short-lived venture in speculative fiction publishing — the ISFDB discloses only five issues published in 1949 and 1950, but it sure managed to publish some splendid art. This tube-girl cover painting on the October 1950 cover was done by the great Norman Saunders, and an interior illustration to Elinor Cowan Stone’s story “The Devil-Fish” has an illustration by Virgil Finlay.

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

Apprendre le français LXXXVI: Appât Pages 97-100

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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): Et oui, dans quelques jours…

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)

(Note : Color pagecount=8)

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

PAGE 99 (Single panel montage, color)

(Note : Color pagecount=9)

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): Ce sera la fin.

Appât (Français/Version longue page)
Appât (Français/Version slider)

Flaming peril!

Menace was a prominent theme in the April, 1951 issue of Fantastic Adventures, especially on this cover by Harold McCauley. A version with more vivid colors (but smaller) can be found at the issue entry at the Internet Speculative Fiction database:

The menace continues with interior artwork by Henry Sharp (1912-2005), illustrating E.K. Jarvis’s story “A Matter of Principle.”

This issue of Fantastic Adventures is available to be read or downloaded from the Internet Archive.