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A a little holiday/New Year’s treat and a change of pace from foreign language lessons delivered by vore and tentacles, I am posting a series by artist Dark Vasili, who was last seen on this site doing the sequence Toozie’s Sacrifice.
Part of a sequence in which artist Dark Vasili imagines what Toozie was imagining when she had to leave the monster-movie Cheesefest (a sequence that in main continuity begins at Storyboard 033.
If 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.
Please do not reproduce this image or its associated storyboards or screenplay text without permission from Faustus, who may be contacted here.
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.
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INT. A COLLEGE EXAMINATION ROOM – DAY
BACK TO SCENE
TOOZIE
The point is, they are very much like us in a significant way, these Greeks, both in the kind of civilizations we both have and in our interest in human sacrifice, although in our society this interest evolves not through myths but through popular culture: in the weird menace fiction of the 1930s, in a muted form in the monster-chasing-girl science fiction of the 1950s, and back again in a more potent form in the slasher movies of the 1970s and 1980s.
PROFESSOR ROSENBLUM
But why this fascination?
TOOZIE
I must speculate.
PROFESSOR ROSENBLUM
Please.
TOOZIE
In archaic times human sacrifices, if they took place at all, were made to Gods. In contemporary times, we have practices we shy away from calling human sacrifices, but in reality what has really changed is that in the place of gods who had names — Zeus, Poseidon, Hades, and so on — we have abstractions: Progress, Economic Development, National Security and so on, and we make our sacrifices to them. We sacrifice men by calling them up for military service in war, or by chaining them to machines some of which will kill them. Fritz Lang was an artist who intuited this: do you remember the “Moloch” scene in Metropolis?
The Professor nods.
TOOZIE
Women, by the way, are sacrificed in childbirth or in caring for others. However you want to add it up, civilization is founded on shed blood. The Greeks understood this explicitly. We don’t — most of the time. We like to go around saying things like “people have human rights” and “every individual is equally and infinitely precious.” But sentiments like these are really just our civilization’s public relations work on itself. They aren’t true, and at some level we know they aren’t true. Our own literature or paraliterature of sacrifice reconnects us with the fundamental and awful truth about our world and as such provide us with the thrill of forbidden knowledge, which is surely one reason why we find it all so entertaining.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
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INT. A COLLEGE EXAMINATION ROOM – DAY
LEOS, an older man, places a curved-bladed bronze knife across Theope’s throat so that its point hooks behind her left ear. Theope bows her head and closes her eyes.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
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INT. A COLLEGE EXAMINATION ROOM – DAY
A SACRED GROVE IN ANCIENT GREECE WITH AN ALTAR
TOOZIE (V.O.)
They obeyed an utterance from the oracle at Delphi to allow themselves to be sacrificed to save Athens from a plague. Demosthenes would compare their bravery to that of soldiers who had died fighting for their city.
A nude PRAXITHEA lies face down across a gore-spattered altar. THEOPE removes her chiton and kneels nude on the altar while her sister Eubule stands in the background, her head bowed, waiting her turn.
Please do not reproduce this storyboard or its associated screenplay text without permission from Faustus, who may be contacted here.
