Köder 044

in Moment für eine große Entscheidung.

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PAGE 44 (Single panel page)

Single panel: View in the galley of the ship, probably from a high angle as this is likely to be a fairly long, narrow space. Turpentine is prominent. He’s dressed as if for a special occasion, wearing a jacket and a bow tie. Eliza and Daphne are both prominent. Among the other people in the galley should be the other characters we’ve seen so far, including Captain Drummingdale, Hiram, and Claudia. There should be others – various ship’s officers and other scientists, that sort of people. Turpintine is holding a small coin up for everyone to view.

CAPTION – PSEUDO-NARRATION (1): As the RV Seagoon approaches the island of Motofupo, there is a dramatic moment.

Translation (1): Als die RV Seagoon die Insel Motofupo erreicht, gibt es einen dramatischen Moment.

Turpentine (2): All right, people, now comes the moment when we decide. We are going to determine which of our brave volunteers goes first. We shall flip this twenty-dollar gold coin.

Translation (2): Alles klar, Leute, jetzt ist der Moment gekommen. Wir müssen entscheiden, welche unserer tapferen Versuchspersonen beginnen soll. Wir warden diese Zwanzig-Dollar-Goldmünze werfen.

Köder (Deutsch/Langseitige Version)
Köder (Deutsch/Dia-Version)

Köder 042

Die lang erwartete Abreise in die Südsee.

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PAGE 42 (Four panels)

Panel 1: Eliza standing at the boarding counter for an international flight, with Daphne behind her. A GATE AGENT is checking Eliza’s documents prior to her boarding.

CAPTION – PSEUDO-NARRATION (1): At long last the preparations were made. The volunteers boarded a flight for Southeast Asia…

Translation (1): Endlich waren die vorbereitungen abgeschlossen. Die Versuchspersonen reisten nach Südostasien…

Panel 2: Eliza and Daphne sitting side-by-side in large, first-class seats in a first-class cabin. Eliza is holding a flute of champagne and Daphne is reading a book.

CAPTION – PSEUDO-NARRATION (2): The benefactor behind the exhibition arranged for them to travel first class.

Translation (2): Der Förderer der Expedition hatte einen Erste-Klasse-Flug für sie gebucht.

Panel 3: Claudia in coach class, crammed into the middle seat of three between Hiram and another passenger. Hiram looks like he’s trying to get Claudia’s attention, perhaps even hitting on her. The other passenger, a FAT MAN, has gone to sleep. Claudia stares forward with Stoic resignation.

CAPTION – PSEUDO-NARRATION (3): Most of the other specialists on the exhibition had to travel in coach.

Comment (3): “in coach” as an idiomatic way of expressing something like “second (or lower) class” in air travel – the part of the aircraft with smaller, more-crowded seats and inferior service.

Translation (3): Die moisten anderen Spezialisten des Teams mussten mit der Holzklasse Vorlieb nehmen.

Panel 4: Eliza, followed by Daphne, followed by Claudia, walking up the gangway to the RV Seagoon. Eliza is wearing her typical thin cotton shirt and skirt, Daphne is in denim shorts and a T-shirt, and Claudia is in a conservative white button-down short-sleeved shirt and a dark skirt. All three are carrying bags, with Claudia’s being by far the largest.

CAPTION – PSEUDO-NARRATION (4): After arriving in Singapore, volunteers and crew board the research vessel RV Seagoon for their venture in the South Seas.

Translation (4): Nach ihrer Ankunft in Singapur gehen die Versuchspersonen und die Crew an Bord des Forschungsschiffes RV Seagoon. Das Abenteuer in der Südsee beginnt.

Köder (Deutsch/Langseitige Version)
Köder (Deutsch/Dia-Version)

Köder 037

Wir begegnen Elizas nacktem Verstand.

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PAGE 37 (Three panels)

Panel 1: Probably long on the side of the page. Close up view of Eliza in the giant tank wearing the “tentacle swim suit.”

Eliza (balloon with watery lines) (1): … … …

Panel 2: Close-up on a speaker on a control panel.

Eliza (radio balloon coming from speaker) (2): bzzt crackle hoff iss cocks bign faat like dis zz-pop!

Comment (2): Eliza’s underlying internal monologue here is something like “Yes! Cocks [that is, penises] big and fat like these” but obscured by transmission noise. The translation should include appropriate representations of “noise” and distortion.

Translation (2): bzzt knatz aaah pimmel kdick nd grosswi diiessse ss-laz!

Panel 3: Claudia and Turpentine, both dressed in coveralls, monitoring progress on a panel.

Claudia (3): Don’t you think we should tell her she has no internal censor going?

Translation (3): Sollten wir ihr nicht sagen, dass ihr interner Zensor nicht funktioniert?

Turpentine (4): No! The more we get for science, the better!

Translation (4): Nein! Je mehr wir für die Wissenschaft sichern können, desto besser!

Köder (Deutsch/Langseitige Version)
Köder (Deutsch/Dia-Version)

Köder 036

Claudia Honeywood stellt sehr intelligente Roboter her.

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

PAGE 36 (Four panels)

Panel 1: Claudia, in coveralls and wearing goggles, sitting at a high-tech workbench making adjustments to a tiny (about the size of a toaster) submersible drone.

CAPTION – PSEUDO-NARRATION (1): Ethical objections aside, preparations for an expedition are laid in.

Translation (1): Ethische Bedenken spielen keine Rolle und die Vorbereitungen der Expedition beginnen.

Panel 2: Claudia now being interviewed in the lab. She has pushed her goggles up on her forehead, and her face has some sooty smudges on it.

SUBTITLE (2): Claudia Honeywood, Ph.D., Project Robotics Engineer.

Translation (2): Dr. Claudia Honeywood, Ingenieurin für Robotik

Claudia (3): The creature will probably be able to block communications with our expedition ship, but we think a tightly focused beam from our subjects to a submersible might be possible. We can capture and retrieve data from it later.

Translation (3): Die Kreatur ist vielleicht in der Lage, die Kommunikation mit unserem Expeditionsschiff zu stören, aber wir glauben, dass ein eng fokussierter Strahl von unseren Versuchspersonen auf ein Unterseeboot möglich sein könnte. Wir können dann später Daten erfassen und abrufen.

Panel 3: A somewhat cleaned-up Claudia showing the submersible to Daphne and Eliza. Daphne seems interested, Eliza almost enchanted.

Claudia (4): Okay, ladies. So, one of you at least is going to be talking to this.

Translation (4): Okay, Mädels. Mindestens eine von euch wird hiermit sprechen.

Eliza (5): Ooh, it’s so cute!

Translation (5): Ooh, das ist so süß!

Panel 4: Claudia fitting something behind Eliza’s ear.

Claudia (6): This sensor will transmit biometrics. It will also scan your brain’s speech center and allow you to provide some narration of your experiences.

Translation (6): Dieser Sensor überträgt biometrische Daten. Außerdem scannt er euer Sprachzentrum im Gehirn, damit ihr über eure Erfahrungen berichten könnt.

Eliza (7): I really want to try that…

Translation (7): Das will ich ausprobieren…

Claudia (8): You will. We need testing.

Translation (8): Das kannst du bald. Wir müssen es testen.

Köder (Deutsch/Langseitige Version)
Köder (Deutsch/Dia-Version)

Köder 027

Um das Meeresungeheuer zu fangen, bruacht man einen Köder.

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

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): Ich nehme also an, dass dieses Gebilde in der Tat eine spezielle Futteröffnung ist.

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

Translation (2): Wenn man alle anderen Möglichkeiten eliminiert hat, bleibt, egal wie unplausibel es scheinen mag nur…

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): Kombinieren wir das, was wir aus den Erzählungen der Eingeborenen wissen, mit dem beobachteten Verhalten und der Morphologie, können wir zu dem Schluss kommen, dass diese Kreatur alle neunzehn Jahre nahe der Oberfläche erscheint und junge Frauen fressen will.

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): Sie wickelt sie in seine Tentakeln ein, stimuliert sie und frisst sie. Warum, wissen wir nicht.

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

Translation (5): Unsere Versuche, die Kreatur einzufangen oder aus der Nähe zu studieren, sind bisher alle fehlgeschlagen.

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): Wir sind zu folgender Erkenntnis gelangt: Wenn man einen Fisch angeln will, braucht man einen…Köder.

Köder (Deutsch/Langseitige Version)
Köder (Deutsch/Dia-Version)

Köder 026

Die Technologie schreitet im Kampf gegen das Tentakelmonster voran.

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

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): Diese Kreatur, was auch immer sie ist, ist hoch intelligent. Sie kann gewöhnlichen Einfangmethoden spielend leicht entgehen. Außerdem erzeugt sie elektronmagnetische und Infraschallfelder, die die Unterwasserkommunikation stören. Und sie durchtrennt sogar Steuerkabel.

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

Translation (2): Professor Eustace Turpentine, Innsmouth-Institut für Meeresforschung.

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): Doch mittlerweile ist die künstliche Intelligenz so weit fortgeschritten, dass wir effiziente autonome Unterwasserdrohnen bauen können.

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): Aus irgendeinem Grund lässt die Kreatur die Drohnen in Ruhe. Diese Drohnen können auch in die inheimlichen Tiefen vordringen, in denen die Kreatur lungert.

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): Dank dieser cleveren kleinen Maschinen haben wir heute eine gute Vorstellung von der groben Morphologie der Kreatur.

Köder (Deutsch/Langseitige Version)
Köder (Deutsch/Dia-Version)

Claudia’s Sacrifice 20

Claudia becomes the creature's meal.

This concludes our illustration series by longtime Erotic Mad Science contributor Dark Vanessa, in which she re-imagines the self-sacrifice of Claudia Honeywood in my graphic novella Bait, in particular the part which begins (in the English-language version) here.

The sequence is published here on agreement between me and Vanessa. Please don’t republish or make derivative works without our consent. I have made this image available in high resolution. Click on the blog image to load or right-click to download.

If you want to see all the illustrations in this series laid out in sequence, you can do so through this link to the series’s blog category.

Dark Vanessa has a DeviantArt site here and if you like her work, I urge you to support her on Patreon, as I do.

Claudia’s Sacrifice 19

Upside-down underwater double tentacle penetration for Cludia.

We continue our illustration series by longtime Erotic Mad Science contributor Dark Vanessa, in which she re-imagines the self-sacrifice of Claudia Honeywood in my graphic novella Bait, in particular the part which begins (in the English-language version) here.

The sequence is published here on agreement between me and Vanessa. Please don’t republish or make derivative works without our consent. I have made this image available in high resolution. Click on the blog image to load or right-click to download.

If you want to see all the illustrations in this series laid out in sequence, you can do so through this link to the series’s blog category.

Dark Vanessa has a DeviantArt site here and if you like her work, I urge you to support her on Patreon, as I do.

Claudia’s Sacrifice 18

Skirt gone, Claudia pulled through the water.

We continue our illustration series by longtime Erotic Mad Science contributor Dark Vanessa, in which she re-imagines the self-sacrifice of Claudia Honeywood in my graphic novella Bait, in particular the part which begins (in the English-language version) here.

The sequence is published here on agreement between me and Vanessa. Please don’t republish or make derivative works without our consent. I have made this image available in high resolution. Click on the blog image to load or right-click to download.

If you want to see all the illustrations in this series laid out in sequence, you can do so through this link to the series’s blog category.

Dark Vanessa has a DeviantArt site here and if you like her work, I urge you to support her on Patreon, as I do.

Claudia’s Sacrifice 17

Claudia is almost stripped and penetrated inher mouth by tentacles.

We continue our illustration series by longtime Erotic Mad Science contributor Dark Vanessa, in which she re-imagines the self-sacrifice of Claudia Honeywood in my graphic novella Bait, in particular the part which begins (in the English-language version) here.

The sequence is published here on agreement between me and Vanessa. Please don’t republish or make derivative works without our consent. I have made this image available in high resolution. Click on the blog image to load or right-click to download.

If you want to see all the illustrations in this series laid out in sequence, you can do so through this link to the series’s blog category.

Dark Vanessa has a DeviantArt site here and if you like her work, I urge you to support her on Patreon, as I do.