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.
Panel 1: Probably the largest panel across the top of the page. An institutional-looking room full of young women sitting at desks, filling out forms with pencils.
CAPTION – TURPENTINE NARRATING (1): We were surprised at the number of volunteers we got when word of our project got out on social networks.
Translation (1): Wir waren überrascht, wie viele Freiwillige sich meldeten, als wir unser Projekt in den sozialen Netzwerken ankündigten.
CAPTION – TURPENTINE NARRATING (2): We did extensive psychological testing to root out cases of suicidality and mental instability.
Translation (2): Wir führten ausführliche psychologische Tests durch, um Fälle von Suizidalität und mentaler Instabilität auszuschließen.
Panel 2: Turpentine in his office, being interviewed.
Turpentine (3): There were some legal issues, of course, but our philanthropic sponsor is well connected and found ways to deal with them.
Translation (3):Es gab natürlich ein paar rechtliche Probleme, aber unser philantropischer Sponsor hat beste Verbindungen und Mittel und Wege gefunden, damit umzugehen.
Panel 3: A young woman wearing a hospital gown, sitting on an examination table and having her blood pressure checked by a nurse.
CAPTION – TURPENTINE NARRATING (4): We did rigorous medical screening.
Translation (4): Wir haben strenge medizinische Tests durchgeführt.
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.
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.
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): Sie sind früh auf den Beinen, Professor 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): Heute ist ein großer Tag, Käpt’n Drummingdale. Unser erster Versuch.
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): Aye, gewiss.
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): Ich kann nicht behaupten, dass ich es gutheiße, was Sie den Mädchen zumuten wollen.
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.
Turpentine (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): Sie haben beide die Einwillung unterschrieben, Käpt’n.
Turpentine (6): They understand what they’re doing.
Panel 1: Turpentine, in a white labcoat, standing next to the side of the tank. He is being interviewed. In the part of the tank that is visible behind him, there’s nothing but water.
Turpentine (1): Well, we had some difficult times there, but it is remarkable how we succeeded in the end.
Translation (1): Bene, abbiamo avuto dei momenti difficili, ma è straordinario come alla fine ci siamo riusciti.
Panel 2: Turpentine facing the tank and placing one hand on the glass.
Turpentine (2): We’ll study the Creature and find out what makes it tick. I’d say that its woman-eating days are over.
Translation (2): Studieremo la Creatura e scopriremo cosa lo rende perfetta. Direi che i suoi giorni da mangia-donne sono finiti.
Panel 3: Turpentine facing outward from the glass again. In the background, un-noted by him, a tentacle has snaked into the shot. This tentacle has an eye at its end, wide open in this panel.
Turpentine (3): I believe humanity will benefit a great deal from the study of Gynophagos turpentinii.
Comment (3): Same conventions on Linnean species names apply as above.
Translation (3): Credo che l’umanità trarrà grandi benefici dallo studio dello Gynophagos turpentinii.
Unseen interviewer (out-of-panel balloon) (4): Wasn’t it supposed to be named Gynophagos honeywoodiae?
Translation (4): Non doveva essere chiamato Gynophagos honeywoodiae?
Panel 4: Turpentine looking a bit perplexed and annoyed. Behind him, the eye-tentacle has contorted into an Angry Squint, as similar as possible to the same Angry Squint made by Claudia Honeywood.
Turpentine (5): I’m sorry, but I have no recollection of that.
Translation (5): Mi dispiace, ma non ne ho memoria.
Panel 1: Claudia sitting back in her cabin writing a letter at a tiny desk.
CAPTION – PSEUDO-NARRATION (1): Within a few hours, the arrangements are made.
Translation (1): Entro poche ore, si prendono gli accordi.
CAPTION – PSEUDO-NARRATION (2): Claudia writes one last letter to her academic advisor, thanking her for her support.
Translation (2): Claudia scrive un’ultima lettera al suo consulente accademico, ringraziandolo per il suo sostegno.
Panel 2: Claudia taking a capsule from Hiram in his shipboard lab.
Hiram (3): It has been recalibrated…
Translation (3): È stato ricalibrato…
Claudia (4): And if you got it wrong this time, I swear I will return from my watery grave and drag you back down with me.
Translation (4): E se hai sbagliato questa volta, giuro che tornerò dalla mia tomba d’acqua e ti trascinerò giù con me.
Panel 3: Claudia walking down a narrow ship’s corridor, with Turpentine behind her.
Turpentine (5): We cannot emphasize enough how much your sacrifice is appreciated, Dr. Honeywood…
Translation (5): Non possiamo sottolineare abbastanza quanto il tuo sacrificio sia apprezzato, Dott.ssa. Honeywood…
Claudia (6): Kindly go fuck yourself, Eustace.
Translation (6): Gentilmente vai a farti fottere, Eustace.
Panel 4: Claudia walking out on deck. She’s fully clothed, wearing the same skirt and button-down blouse combination she was wearing when she came aboard the RV Seagoon. A few sailors with hang-dog expressions look on.
Claudia (7): You all are going to have to get your peep-show somewhere else today.
Translation (7): Oggi dovresti fare il tuo peep-show da qualche altra parte.
Panel 1: Turpentine facing the door, speaking to it.
Turpentine (1): At this point, the expedition simply cannot succeed without you. There just isn’t anyone else with the right…attributes, and it will be nineteen more years before anyone has another chance.
Translation (1): A questo punto, la spedizione semplicemente non può avere successo senza di te. Non c’è nessun altro con gli attributi… giusti, e passeranno diciannove anni prima che qualcuno abbia un’altra possibilità.
Panel 2: Turpentine still facing the door, with his hands up in a pleading gesture.
Turpentine (2): In recognition of what we’re asking of you, the species will be named after you. Gynophagos honeywoodiae. How does that sound?
Comment (2): The Linnean “species name” Gynophagos honeywoodiae should be left in the original Latin, unless it is the custom among professional biologists using your target language to render it otherwise.
Translation (2): In riconoscimento di ciò che ti stiamo chiedendo, la specie prenderà il tuo nome. Gynophagos honeywoodiae. Che ne pensi?
Panel 3: Claudia still on her bunk. This is another “surveillance video” panel. In this panel Claudia’s eyes are in an angry squint The precise nature of this squint should be drawn as distinctively as possible and noted (thus as the “Angry Squint”) as it will reappear in another context below.
Claudia (3): Fuck off!
Comment (3): “Fuck off” is a vulgar and rude way in English to tell someone to go away, but one perhaps appropriate under these circumstances.
Turpentine (4): Listen, I’ve talked with the expedition sponsor via satellite phone. He understands how critical you’ve become to the success of this expedition, and he has said he’s willing to raise the charitable donation to five million dollars if you can…cooperate.
Translation (4): Ascolta, ho parlato con lo sponsor della spedizione via telefono satellitare. Capisce quanto è importante per il successo di questa spedizione, e ha detto che è disposto ad alzare la donazione di beneficenza a cinque milioni di dollari se puoi… cooperare.
Panel 4: View of Claudia sitting on her bunk in her cabin. Her arms angrily folded over her chest, her face set. This panel is “surveillance video” so it should have a somewhat vaguer, grainer look to it than most panels.
CAPTION – TURPENTINE SPEAKING THROUGH THE DOOR (5): You can do a lot of good in the world with five million dollars, Claudia.
Translation (5): Puoi fare molto bene al mondo con cinque milioni di dollari, Claudia.
Köder (Deutsch/Langseitige Version) 
