Destiny’s Dangerous Method

Just keep saying to yourself, “It’s only a movie, it’s only a movie…”

Actress Destiny Summone is filming a cruccifixion scene, but it's only a movie, right?

Some nights dark dreams come to me, and some days I want to realize them as art. This particular one was realized for me by Studio Pirrate, who has shown great skill before in realizing dark dreams. The caption reads:

Destiny Summone is playing the title role in The Martyrdom of Julia. It is the role of a lifetime, the role that will make her immortal. But like any great role, it cannot be played without sacrifice. For Destiny is a method actor, and she is determined to make as much use of her method as she can…

If you want to download the very large original of this piece, you can do so by clicking on the image. But please do not republish or alter the image without permission.

If you like Studio Pirrate’s fine work, you can become a supporter on Patreon, as I am.

Punching your own one-way ticket #1

Consider this set of facts about my own fiction, reader. I seem to have a lot of characters who, most of them attractive young women who one way or another, manage to bring about their own ends, in a spectrum of possibilities the “nice” end of which involves a transformation so dramatic that they have completely departed from their previous existence and in the not-so-nice end of which they are basically annihilated. Ashley Madder, in The Apsinthion Protocol, was perhaps the first of these to go. Her transformation into a statue of herself was certainly unexpected, although there are hints in the text that perhaps this was something she may have wanted to happen. Nanetta Rector and Moira Weir in the end put themselves through a one-way liquification process from which it seems unlikely that they will ever return. Li Anwei at the end of that first volume is clearly undergoing some sort of bodily transformation and chooses to disappear into the sea, thus departing from human society. And the departures continue in later volumes: the minor character of Donna in Bridget O’Brian’s narration in Study Abroad, chooses to enter the Kupler-controlled sexual underworld without the possibility of self-extrication, surrendering her fate to those who control it. In the same volume, Iris Brockman gives up her life in the Club Cuisine and only “gets it back” under strange and questionable circumstances. Maureen Creel does something similar at the end of Invisible Girl, Heroine. John Samson, transformed into an enslaved female submissive in her own mind at the end of Gnosis Dreamscapes chooses to remain in that dream realm rather than wake up.

Those are examples from the recent past, and looking ahead to what I have planned out for the future I see much more of the same. Judging by the obsessive amount of energy I pour into the matter, I seem to be fulfilling some deep psychic — and probably erotic — need with stories whose protagonists make ultimate sacrifices for erotic ends. For lack of a better word I call this phenomenon “punching your own one-way ticket.” I have to wonder to myself what is going on here? Do I need a Thanatophile Manifesto to go along with my Thaumatophile Manifesto?

I can’t claim to have any real answer to the question of why I have the kinks I do and I’m not sure anyone else does, either. But science cannot begin without either observation or conjecture, and so I’m willing to gather a little data and do a little bit of self-searching (and perhaps self-lacerating) speculation.

To the end of doing this I’ve had the help of an excellent friend, Bacchus of ErosBlog, who took on a large Rule 34 research commission from me to find other examples of one-way ticket-punching. I placed this commission in the conviction that encounters with art can awaken things in one did not know — or best barely knew — were there. As usual, Bacchus did not disappoint.

“Volunteer” by ~makar013 at DeviantArt, an image found by Bacchus as part of his Rule 34 commission.

I’ll integrate some of Bacchus’s results with my own speculations over a series of posts for the next few days. I hope that it will at least make for some interesting reading. And who knows, perhaps it might also help advance the psychology of perversion one more inch.

Edith Sterling’s Transformation Begins

KristinF has worked up a doozy of a bespoke art set-piece from a bit of comics script I was once working on, coming up with a gritty, scary, sexy, dieselpunk environment in which something very mad science is taking place.

Naked crucified Edith Sterling begins a mad science transformation

(Click on the image for full size. Creative Commons License
Edith Sterling’s Transformation Begins by KristinF and commissioned by Dr. Faustus of is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.)

The script is Teuthology and the basic story is that Edith Sterling an assistant professor of inveterate biology at Gnosis College, summoned by the government to help clean up after a mad-science experiment disrupted by the authorities, has agreed to undergo a version of the experiment in hopes of being able to reverse its effects on the mad scientist’s previous victims.  She’s naked because she needs to soak up a lot of special radiation that will effect her transformation from woman to octopus (note the receiving tank of fluid beneath her).  And she’s crucified because…well, that’s the way the mad scientist did his other victims, and you don’t want to tamper with mad science procedures more than you have to!

Edith is being watched here by a naval officer and his chief scientist, neither of whom appears to have had the courage to show up naked for the proceedings.  Perhaps unsurprisingly, Edith in the script takes a pretty dim view of being on display here.


View up Edith, ¾ behind, upper half. We can see her head slumped down.

Caption (1): Great Cthulhu, this hurts.

Caption (2): Small wonder crucifixion is associated with matrydom.


View of Edith’s bare midsection. Two “ray-gun” like objects are in the frame, pointing at her. (SFX: WHRRR)

Caption (3): It wasn’t even obvious that this part of the ordeal was necessary. It might just have been sadism on Dr. Sin’s part. But I don’t want to deviate unnecessarily from…


View of Shackleford and Chen. They are both wearing radiation suits and dark goggles.

Caption (4):  Aw, crap.

Shackleford (5):  Everything all right, Professor Sterling?


Close-up on Edith’s face.  She is showing an expression of grim determination.

Caption (6):  He isn’t here out of scientific interest. Or out of compassion for me.

Caption (7):  He likes seeing me like this.

Caption (8):  Asshole.

We can but sympathize.  (It should be noted, though, that Edith is actually looking forward to becoming an octopus, even if no one else in the story knows this.)  Though perhaps if Edith had read this rather remarkable blog entry and picked up the right fetish, she might have had a different hedonic take on the mad-science proceedings…


Tiresias VII

Script for today:

Page 19

Close up showing only one of Taylor’s hands.  It is clutching at the ground in a futile attempt to prevent Taylor from being dragged back.

TAYLOR (out-of-panel balloon): No…no…no…

View of Taylor scrabbling at the edge of the open grave, his face frozen in mute horror.

This panel is a P.O.V. of Taylor’s.  Most of it is black, but there is a rectangle in the middle, showing some sky or other feature, which is what Taylor can see out of the open grave he has been dragged into.

CAPTION: There is no fear like this.

Same view as previous panel, except that the rectangle is smaller, as if Taylor has been dragged still deeper into the grave.

CAPTION: I love you, Marie.

This panel is solid black.

Taylor’s P.O.V., except that he his now looking up at the ceiling of Professor Waite’s lab.

Page 20

A view inside another part of Professor Waite’s laboratory.  This is a room filled with monitors and computers of various kinds.  We see LITTLE WILLIE in profile sitting on a high stool, looking at a computer monitor.

LITTLE WILLIE: Wow. Kid really hangs tough.

A view back inside the laboratory bedroom.  Taylor is sitting up on the side of the bed.  He is naked, but is covering his lap with the sheets.  Jill sits beside him.

TAYLOR: Was that really necessary?

JILL: Let me tell you something, Taylor.

This panel depicts a flashback (to the quasi-screenplay Invisible Girl, Heroine).  The panel is divided by a “cutaway” of a wall.”  Part of the wall is a bondage-like device similar to the “stocks” through which Jill’s (Jill-Prime’s technically) head and hands project.  In a room on this side of the wall sits DR. STRANGEWAYS, who is sitting in a rocking chair and smiling sardonically.  Jill’s face registers a look of shock and pain.  On the other side of the wall is the rest of Jill, on her knees and bent over.  She is bound by her ankles, and naked.  CONGRESSMAN THROTTLEBOTTOM, his pants down, is pentetrating her anally from behind.

CAPTION: The outside Gnosis College is a surpassingly cruel and dangerous place.  I know this from experience.

This panel is also a flashback, showing the murder of Jill (Jill-Prime, technically) from Gnosis Dreamscapes.  We see only her bound hands in the air, and the main rope (from which the rest of Jill is hanging).

JILL: Getting killed is a real possibility too. And believe me, you don’t want to know how well I understand this either.

Page 21

This page should recap the large orgy scene from the “Odalisque” segment of Study Abroad.  It should be set in some sort of grand Moorish space full of cushions, divans, fountains, etc.  Looming over the panel should be the crucified girl LUDMILLA, while in the foreground we should see both BRIDGET O’BRIAN and DONNA in double rear-entry/performing fellatio poses.  Around the rest of the panel, various other naked people engaged in sex acts and debauchery.

CAPTION: Bridget was involved in stuff with the Kupler organization before.  The tales were not for the faint of heart.

CAPTION: We need someone who’s really tough…

CAPTION: …and committed.

Committed is needed indeed, given the scary things that can happen to you in the Gnosis fictional world, some of which this particular section of script gave me the opportunity to revisit.

The fate of helpless Ludmilla gets an artistic nod from Hajime Sorayama.

Found on the oddly-named Portuguese-language blog Sem Pénis Nem Inveja, which contains lots of nice art and photography.