MYTHCOMICS: "THE CAVE OF THE BANSHEES" (AIRBOY COMICS #90, 1953)

 I doubt the writers and artists knew that AIRBOY #90 was fated to be the last issue of the ten-year-old survivor of the WWII superhero boom. Still, the final HEAP story does provide a better-than-average wrap-up for the wandering muck-monster. Various earlier stories had attempted to infuse the horror-themed creature with a dollop of high fantasy, like linking the Heap to Demeter, Goddess of the Harvest. But though I have not read the entire run of the Golden Age Heap, I doubt any other stories did better than CAVE OF THE BANSHEES in terms of mythicity.

The previous HEAP story had "nature's powerful messenger of right" (see above caption) in Germany, the native land of the late air ace who became transformed into a swamp-creature. Neither artist Ernie Schroeder nor the unbilled writer provide the least rationale as to why the near-mindless monster winds up on the Irish seacoast, watching as a young woman is apparently being carried away to some dire fate. The splash alone suggested to me the Irish idea of the mythical Pookah:

If a human is enticed onto a púca's back, it has been known to give them a wild ride; however, unlike a kelpie, which will take its rider and dive into the nearest stream or lake to drown and devour them, the púca will do its rider no real harm

Following the splash, the story juxtaposes rich Irish against poor Irish, and both in terms of beautiful women: the Countess, who owns and races horses, and Moira Shea, who's been made poor by her uncle making bad bets on horse-races. The two women don't speak but each sees the other in negative terms: Moira as a "witch," the Countess as "something evil."

Moira at least has a specific reason to fear the foreign woman's presence, for her boyfriend Tim seems smitten with the Countess. However, the same uncle who ruined their family financially has one prize for Moira's dowry: the untamed white stallion Killarney King. Motivated less by money than by the desire to show up the Countess, Moira tames the King.

   However, the Heap stumbles across Moira taking the King out for a canter, and the horse panics, plunging into a nearby bog. But bogs are no challenge to the superhuman swamp monster, who carries stallion and rider to safety. 

Possibly the Heap has his own "heap-o-trouble" sense, for on the same day, he meanders over to the estate of the Countess. A jealous trainer almost gets Tim killed by provoking the black stallion "Satan," but the Heap saves Tim. From Moira's POV, this is doubly good because the Countess believes the trainer's lies and sacks Tim, thus getting Tim away from the Countess' beauty.

   

To be sure, the Countess never shows any romantic interest in Tim. However, when the noblewoman gets a look at Killarney King racing along the meadows, she covets the stallion, realizing that the King is faster than Satan, her best horse. She doesn't exactly tell her corrupt trainer to set up a booby trap for the horse, but the guy does so anyway. (This also seems counter-intuitive, since a trap might injure the horse, so probably the writer just introduced the gimmick to set up the trainer's death.) In any case, the Countess makes a bet with Moira. When Moira can't pay the entry fee, the Countess pays it, against the promise that Moira will surrender the King if the King loses the race. Up to this point, the rich beauty hasn't done anything villainous-- but then she cheats during the race, setting her, not Moira, up for the dire fate seen in the splash panel.

So we're at the last page, meaning that the writer has scant time to show us what he meant by the "cave of the banshees," mentioned only in the opening caption-- and then, that's even after getting rid of the trainer by having him trampled to death by the very steed he tormented earlier. Fortunately, even in 1950s America, the association of the banshees with death-spirits was pretty solid (even before the DARBY O'GILL film). Satan the stallion, panicked by the trap, serves the function of a pookah, plunging with his rider into the legendary cave-- and only the Heap bears witness when the "haggard broken horse" emerges from the cave without his rider.       

CURIOSITIES: AMERICAN SHOTACON

 I'm only slightly versed in manga based around characters whom Japanese culture deems "shotacons;" i.e, "women attracted to underaged males." I don't believe, from what I've seen, that all such "shotacons"-- meaning women with a complex for shotas (boys) -- result in actual sex, though there's not much transgressive stuff the Japanese DON'T get into. But in 1945, long before manga had any circulation outside Japan, JOKER COMICS #35 farted around a bit with depicting adult women fawning over an age-inappropriate male. (Supposedly said male is a teenager, so Western psychology would term the attraction "hebephilia.")

So in "Model Man" (no known credits), all the twenty-something models at the agency of Millie (Timely/Marvel's most famous model) go gaga over a new male model, Ron Franklin. Despite the jealousy of Millie's boyfriend Clicker, she and the other women don't say they have any intention of dating "Little Ronny." Supposedly, they just want to "mother" him in some vague manner. 

"Mothering" excuse aside, one page shows Millie and her ongoing rival Chili pawing Little Ronny in their ardor to do the next photo-shoot with the skinny teen. From what I recall, Timely humor comics usually kept the romantic entanglements on the same age-level, so this seems to be a one-off even if the writer meant to imply some "forbidden fruit," probably mostly to fill pages than for any other motives. It is worth noting that the two females insult each other with the aggressive terms "amazon" and "she-wolf," which are about as far as one can get from the image of motherhood.

The conclusion, such as it is, reveals that Little Ronny isn't a teen, but a married man who just happens to LOOK young. A story on the same theme, but less aimed at a kid audience, would probably establish that Ron meant to use his looks to get in with the gullible girls, but the slight story doesn't exactly say so. Ron is revealed to be more than barely legal, as indicated by his rather hefty wife, who shows up at the agency to put an end to Ron's "model-monkeyshines." I think it possible that the writer did have some sneaky scenario in mind, but he censored himself because that would have been a little too racy for a kid's humor comic. Anyway, "Model Man" ends with the ladies compensating for their goof by fawning over the age-appropriate Clicker, returning all to the status quo.

                

MYTHCOMICS: MONSTER MARRIAGE SHOP (2021-2023)

 I said at the end of HARUM SCARUM that I'd be analyzing a harem comedy that didn't conform to the predominant pattern of the subgenre. MONSTER MARRIAGE SHOP does include a male protagonist surrounded by comely females. many occupying the same domicile, but all the females are yokai, "monsters," after the fashion of the still-ongoing 2012 manga MONSTER MUSUME. Like the influential LOVE HINA, SHOP telegraphs the inevitability of a particular "till death do us part" joining of the male lead with one of the resident females, though SHOP concludes within a mere twenty episodes. I've read enough translated manga that I feel I have the sense of what it looks like when a given manga has been structured for a long run, only to be wrapped up arbitrarily when some editor/publisher cancels the feature. I can't prove SHOP was not subjected to some similar circumstances. But to me it seems that female mangaka Kaworu Watashiya arranged everything in SHOP to come to an ending that she executes to deliver her specific take on the harem comedy-- one in which the "harem" functions a lot like a feminine support group.

At roughly age 9 male lead Yuto Nikao loses his father (about whom the reader never learns anything). At the funeral, his mother Mrs. Nikao (no first name given) comments that at least she still has her only child Yuto to console her-- except that in the wings a half dozen guys are waiting to date a hot widow. Throughout Yuto's adolescence his mother seeks to find a new father for Yuto, but she has terrible judgment, resulting in a stream of users and losers. Freud theorized that every male child would be conflicted once he was old enough to perceive Mommy having relations with Daddy. But though Yuto never thinks he ought to be the man in his mother's life a la Norman Bates, hearing Mommy Nikao have sex with assorted men has a bad effect on his male ego. Freud assumed that the Oedipal male would resolve his mother-complex indirectly, by seeking a mate reminiscent of his mother. Adult Yuto's solution to his complex takes a new wrinkle: he becomes a "marriage advisor," whose mission in life is to do well what his mother did poorly, facilitating good marriages. However, he also declines to seek a mate for himself, deeming himself an incurable "mama's boy" devoted to niche pornography.              

Then one night Yuto gets off his bus in the wrong place, wanders into a forest, and meets his leading lady, werewolf-girl Ururu di Bianca. She guides him into her hidden "monster town," where every resident is a yokai of some sort. Yuto takes his discovery in stride, and perhaps because nothing but his job defines the young fellow, he starts giving the relatively civilized monsters matrimonial advice.

 This state of affairs irritates the love-god Cupid (apparently all sorts of myth-beings occupy Monster Town). Feeling like Yuto's infringing on his territory, Cupid shoots Ururu with a love-arrow. Ururu comes close to de-virginating Yuto, but she's interrupted by a bevy of monster-girls who want the human's marital counsels. Yuto shakes off his near-rape and decides to open a matchmaking service in Yokai-ville. He doesn't realize, despite many subsequent hints, that Ururu has fallen in love with him now, so she and other monster girls start aiding Yuto in his new business.

I won't spend much time on the ancillary monster-girls. Watashiya seems to be following the example of MONSTER MUSUME, but with an important difference. Though two or three of the other beast-babes-- a succubus, a vampire, etc.-- seem inclined to sex up the human, none are really "into" him as Ururu is. Most of the time, the monster girls just hang around the agency waiting to see what happens, alternating between bonding and sniping at each other-- hence, my "support group" characterization. Almost none of them or the short-term customers actually get married, because in Monster Town, Yuto has to overcome his "mama's boy" fixation, and that means that his deflection into work must be invalidated. Not too many of the individual monster-girl stories are symbolically complex, except as they bear on breaking down Yuto's defenses. 

Not until Episode 14 does Watashiya introduce a ticking clock: Yuto's situation loosely parallels that of folklore-hero Urashima Taro, who was (according to the author) unable to leave Fairyland until he had sex-- which is. of course, what Yuto's been avoiding in the real world, to maintain his connection to the mother he still loves. 

Meisa the Gorgon, the intellectual of the group, expands on Yuto's psychology with the concept of the "frog prince syndrome." Frog princes, rather than importuning princesses for kisses, are deeply conscious of being undesirable. Thus their poor self-image justifies pushing away anyone trying to get close.  

Harnis the Succubus comes up with her own theory of building up Yuto: enter his dreams and have dream-sex with him. However, the attempt triggers Yuto's defenses: even in his mind, Yuto thinks his mother is always watching. Yet at the same time, he resents his mother's control and transforms into a gorilla flinging poo at Mom.

Harnis, perceiving that Yuto has shifted his fixation to Ururu, convinces the dreamer to summon the wolf-girl. But here too the punishing mother intrudes, and Yuto conjures up a lupine dominatrix.       

However, Yuto's dream may have some effect in the human world, for no sooner has Yuto awakened and dressed than a giant version of Mommy Nikao intrudes on Monster Town and snatches up Yuto like he's Fay Wray. The monster-girls theorize that the giant is a psychic projection of the human Mrs. Nikao, and if so, this is the only time the character appears in the narrative's "real time." Both Yuto and Ururu try to reason with the giant, but when Mrs. Nikao tries to eliminate the competition, the monster-girls take her down, though Yuto shows his respect to the "mother" before she vanishes.

With the vanquishing of "Queen Kong," Yuto can at last express his feeling for Ururu-- and though she knows he may disappear, she can't stop herself from "wolfing out" and having sex with him-- though this time, he doesn't want abuse but trusts her not to harm him. Yuto does return to the human world, but with a twist: he, unlike Urashima Taro, returns to a time slightly before he departed. So now he has the chance to return to normal life, so will he do so?

Of course not: within one day he's back in the forest, looking for Monster Town. And though he finds his Fairyland, it's a reversal on the trope of the human who returns to a future-world that's forgotten him. This time. the denizens of Fairyland forget that their human visitor ever existed, even though Ururu (possibly) carries his seed. And this comprises Yuto's last hurdle: the guy who had no confidence in himself must tell all the monsters who've forgot him that he knows them all inside-out. And to judge from the last pages, Yuto succeeds in making his lupine lady love him again. The reader doesn't know how much time has passed: only that Camilla the Vampire and a wolf-boy are regarding a bridal picture of Yuto and Ururu, and speaking of Yuto in the past tense. It's a bittersweet touch to the overall happy ending, implying that a mortal can't endure in Yokai-ville as if he was one of them. But if Yuto pays a penalty for love, most readers would consider that a better fate than expiating his trauma in a devotion to the happiness of strangers.     

HARUM SCARUM

 My next mythcomics post concerns a rather atypical "harem comedy," so it behooves me to advance some general rules for the typical kind.

The baseline definition for the subgenre involves a protagonist continually interacting, usually in close proximity, with three or more uncommitted individuals, all of whom said protagonist finds attractive. Though some variations include a hetero female surrounded by hetero males, or focus upon assorted gay/lesbian permutations, the prevalent pattern is that of a single hetero male becoming the center of attention for three or more hetero females. The dominant pattern is also that of the domestic comedy, though there are also Japanese harem franchises oriented upon horror or adventure.

Most "harem-histories" start with the most popular serials produced by Rumiko Takahashi: URUSEI YATSURA (1978), MAISON IKKOKU (1980), and RAMNA 1/2 (1987). However, none of these serials stress ongoing female romantic competition for a male as do the stronger exemplars of the subgenre. URUSEI clearly takes advantage of what I'll call the "beauty pageant trope," in which, for whatever reason, a male character finds himself virtually besieged by a panoply of gorgeous females. However, of the couple dozen women who populate URUSEI in its nine-year-run, very few of them are interested in protagonist Ataru. URUSEI does begin with a Betty-and-Veronica struggle between Earth-girl Shinobu and alien beauty Lum for Ataru's love. But soon Shinobu deals herself out, and it becomes evident that Lum is the only one who loves/can stand Ataru. The lead female of MAISON never really has any serious competitors either. And while a small coterie of hot girls pursues Ranma Saotome from time to time, thus annoying female lead Akane, the RANMA series doesn't focus purely upon the presence of romantic rivals. All that said, at least one URUSEI tale by Takahashi includes Ataru fantasizing about having a harem consisting of all the females who have continually rejected him-- and that one scene might have had a major effect upon all that followed, considering Takahashi's status as a major moneymaking mangaka.

Closer to the harem-pattern were 1988's OH MY GODDESS and the 1992 OVA TENCHI MUYO (which in turn begat a manga and a teleseries in that decade). However, I don't think the subgenre became dominant until the international success of Ken Akamatsu's 1998 LOVE HINA, in which a harried male student finds himself managing a girls' dormitory. All five of the nubile female residents vie for the male's affections, and that's not including two other irregular sources of competition. 21st century Japan then began producing a titanic number of similar concepts, and I've seen no evidence of the trend slowing down.

This arrangement has led to HINA and many similar franchises as being nothing more than appeals to male sex fantasies. I've no stats regarding what serials are read more by females than by males in Japan or anywhere else. However, I don't think HINA in particular lacks for female fans. Though no reader of either sex experiences the sort of farcical situations of HINA, in real life hetero females certainly do compete for males, albeit more subtly than male competitions. A series like HINA allows female readers to identify with female characters seeking validation of their own feelings, even when a given character is unlikely to be selected as the male lead's destined partner (e.g. middle-schooler Shinobu, whose affection for twenty-something Keitaro was not likely to be confirmed by serial's end).

I mentioned that various permutations existed, and this includes a few harem-like narratives that revert back to the non-harem resolution of URUSEI, surrounding the male with comely females who don't desire romance with him. This is definitely true of the anime PRINCESS RESURRECTION, though at present I've not read the entire manga series. And the mythcomic I'll next explore diverges into even newer terrains.     

CLASSIC-LIBERAL TREK PT 3

 Season the third, but without the Great Bird.

SPOCK'S BRAIN-- The argument: "Brain and brain-- males are only good for one thing; having their brains sucked out of their heads." "Sorry, my dear, we're going to KEEP our brains where they are. But as a consolation prize, we'll do away with your gynocentric dominatrix culture and restore equity between the sexes-- see later episode TURNABOUT INTRUDER for details."

THE ENTERPRISE INCIDENT-- Now it's time for the Trekkers to play "KEEPING up with the Romulans" by stealing their tech. The only "sharing" is interrupted between Spock and the sexy Romulan Commander.

AND THE CHILDREN SHALL LEAD-- Well, no. Contrary to the Isaiah quote, even godlike powers don't make a bunch of little kids into leaders, any more than it worked for big kid Charlie X. So they have to KEEP to their own lane.

IS THERE IN TRUTH NO BEAUTY? -- The Trekkers think their emissary Spock ought to be able to SHARE the privilege of communing with an alien ambassador. But his "keeper" doesn't like SHARING, though in the end she's forced to do so.

DAY OF THE DOVE-- Not all energy-beings are as saintly as the Organians; here's one that wants to "keep" hostilities between Trekkers and Klingons going at fever pitch. And this time both groups make the existential decision to SHARE a common interest, if only in survival.

FOR THE WORLD IS HOLLOW AND I HAVE TOUCHED THE SKY-- Once again we have a stratified civilization that must be taught to SHARE a common destiny with the rest of the universe.

PLATO'S STEPCHILDREN-- Hey, Trekkers, you can't confine your attacks to Greek gods, but you gotta go after their philosophers too? Still, nobody's going to cry for the Platonians when they're forced to SHARE parity with other sentients.

WINK OF AN EYE-- "No, thank you; we'd rather KEEP clear of your breeding-pens."

THE EMPATH-- Certain aliens demand that Gem SHARE her very life to prove herself. The Trekkers show the ETs that, "Love means never having to SHARE so much that it kills you."

ELAAN OF TROYIUS-- Unlike "Plato's Stepchildren," this time the Trekkers must teach just one arrogant aristocrat how to SHARE for the sake of her people. However, this time the Trekker captain suffers a bit for Elaan having overSHARED with him.

LET THAT BE YOUR LAST BATTLEFIELD-- "No, thank you, KEEP both your revolutionaries and reactionaries to your dead planet."

REQUIEM FOR METHUSELAH-- Neither father nor potential son-in-law get to "keep" the lady fair. All they SHARE is mutual tragedy, though Spock has a different form of SHARING-moment.

THE WAY TO EDEN-- Didn't we already do two episodes about "KEEPING off the Eden-grass?" Oh well, space hippies make everything better.

THE CLOUD MINDERS-- Now let's have the Trekkers teach the haves to SHARE with the have-nots-- and with zero mentions of socialism, to boot.

THE SAVAGE CURTAIN-- Wel, you Trekkers *said* you wanted to SHARE the glory of your Liberal perfection with everyone and everyone's dog. So why would you object to dramatizing your beliefs by acting them out?

TURNABOUT INTRUDER-- If there's one person with whom you don't want to "share" your body and soul, it's your vengeful, possibly hormonal ex. Kirk has to figure out how to KEEP his sunny side up long enough to convince his fellow Trekkers that he's not a victim of gender dysphoria and that he really wants to KEEP his male soul in his male body. 

THIRD SEASON EXCLUSIONS-- THE PARADISE SYNDROME, SPECTRE OF THE GUN, THE THOLIAN WEB, WHOM GODS DESTROY, THE MARK OF GIDEON, THAT WHICH SURVIVES, THE LIGHTS OF ZETAR, ALL OUR YESTERDAYS. 

       

 

 

ENTERPRISING EXECUTIVES

I've been giving, both in my three-part CLASSIC-LIBERAL TREK essay-series and in a forthcoming review of the first season of the series STAR TREK PICARD, considerable thought to the differing ethical systems of the 1966-68 STAR TREK and the 1987-94 STAR TREK THE NEXT GENERATION. 

My starting point, almost inevitably, is David Gerrold's observation from his popularization of Star Trek fandom, THE WORLD OF STAR TREK: that Gene Roddenberry's creation was President Lyndon B. Johnson's "Great Society in Space." The idea might or might not have been original to Gerrold, but it's substantially correct, with one major amendment. Though Johnson was unquestionably the man in the oval office during the three seasons of The Original Series (henceforth TOS), the two policies with which Johnson is most associated-- the "liberal" policy of the Civil Rights Act and the "conservative" one of Communist containment via the continuation of the Vietnam War-- had their genesis in the tenure of Johnson's predecessor John F. Kennedy. Thus the ethos of TOS, with its skillful balance of Liberal and Conservative ethical propositions, derives from Kennedy-- who incidentally was also the first "space age" American Prez-- to the extent that said ethos derives from any President at all.

Naturally I am not, any more than Gerrold, arguing a conscious attempt by Roddenberry or any of his collaborators to pattern their work after any public statements by any political figure. Professionals producing television shows in that era sought to reach the largest possible audience by transforming political propositions into fictional flights of fancy. Kennedy and Johnson alike should be viewed less as direct influences and more as cultural touchstones.

With that concept of ethos-orientation in mind, how should one regard the ethos of STAR TREK THE NEXT GENERATION (aka TNG). As it happens, two Presidents reigned during TNG's seven years. However, only one held office during the first three years of the show, which also happen to be the years during which Gene Roddenberry's influence over TNG progressively waned, partly due to the poor health that took his life in 1991.

Was TNG a reflection of President Jimmy Carter's ethos of America? Any resemblances may be less evident than the Kennedy influence on TOS. But where Kennedy was precipitate in his decisions, Carter's tenure was marked by caution. Kennedy sought to inspire citizens with high-sounding rhetoric; Carter was more down-to-earth. Most of all, Kennedy told Americans that they should ask what they could do for their country, while Carter, in the wake of the Nixon scandal, told his constituents "I'll never lie to you."

The characters of TNG, in their earliest conception, have one dominant trait in common with Jimmy Carter: over-earnestness. In the 1980s, as Roddenberry saw the franchise he'd created taken over by other hands, TNG gave him his last chance to infuse a teleseries with his guiding ethos. Yet this time he didn't want a series that stressed heroic action and character conflict. As many TNG critics have observed, Roddenberry wanted characters who had advanced beyond personal interest, not least with regard to that old devil sensuality. As the characters lacked personality in those early years, the players couldn't do much except to pontificate-- though always with the most earnest attitudes possible. For me, as a viewer not much impressed with TNG's early years, the culmination of this tendency appeared most egregiously in the first-season episode "Skin of Evil," which I call "The One Where Picard Has Righteous Conversations with an Oil Slick." 

TNG fans would aver that in later years the show transcended that period. I would have to do a complete rewatch to see if I agreed, but I tend to think that the ethos of TNG was always compromised by its impractical nature. And yet, many fans of TNG did not like the first season of PICARD, and I did-- which promises an interesting if one-sided discussion as to where the TNG universe finally took a good turn.                   

             

THE READING RHEUM: THE HOUND OF THE BASKERVILLES (1902)

I've probably read Doyle's HOUND two or three times just for pleasure, but not since starting this blog in 2007. I recall occasionally ascribing high mythicity to the novel in this or that essay, but I never analyzed the book, even though the story is one of the best-known in literature, making it something of a "popular myth." That, however, doesn't count in terms of my charting a narrative's epistemological patterns. I have reviewed at least four cinematic adaptations of HOUND on the movie-blog, and I've never discerned high mythicity even in the two best and most famous films, the 1939 Fox film and the 1959 Hammer outing. 

Having reread the book now with my myth-stalker's hat on, I find that Doyle was in no way subtle about his primary myth-theme. The author hints at that theme in the first chapter, when Holmes and Watson discuss the pedigree of their client Dr. Mortimer by consulting a medical directory (the Victorian version of the Internet). They find that the doctor has authored articles with titles like "Is Disease a Reversion?" and "Some Freaks of Atavism." This concern with the distant past plays into the case Mortimer had brought to Holmes. The doctor tells Holmes and Watson that he half-believes in the Baskerville curse, that may have killed the former baronet Charles and may yet take the life of the sole heir. Sir Henry.

I've mentioned in one film-review that there's never a possibility, in Holmes' modern London, that there exists a demon-hound that slew the Baskervilles' degenerate ancestor in the 17th century, or one that might take the life of Sir Henry. Holmes duly mocks the very idea, despite taking the case. In the end the existence of a demon-hound matters less than the fact that the world that bred such superstitions still endures. Thus the still-savage land of Dartmoor can cast a spell upon some Victorian men, as attested by Watson when, as Holmes' agent, he first views the wild moorland around Baskerville Hall:

MY DEAR HOLMES: My previous letters and telegrams have kept you pretty well up to date as to all that has occurred in this most God-forsaken corner of the world. The longer one stays here the more does the spirit of the moor sink into one's soul, its vastness, and also its grim charm. When you are once out upon its bosom you have left all traces of modern England behind you, but, on the other hand, you are conscious everywhere of the homes and the work of the prehistoric people. On all sides of you as you walk are the houses of these forgotten folk, with their graves and the huge monoliths which are supposed to have marked their temples. As you look at their gray stone huts against the scarred hillsides you leave your own age behind you, and if you were to see a skin-clad, hairy man crawl out from the low door fitting a flint-tipped arrow on to the string of his bow, you would feel that his presence there was more natural than your own. The strange thing is that they should have lived so thickly on what must always have been most unfruitful soil. I am no antiquarian, but I could imagine that they were some unwarlike and harried race who were forced to accept that which none other would occupy.

The curse of the Baskervilles might not extend back to the days of prehistoric menhirs, but the event that brought about the supposed curse, in which a hot-blooded lord dedicated his soul to Satan for the sexual possession of an innocent maiden, remains no less remote from the experience of Victorian Londoners. 

And yet, England has its share of non-superstitious degeneracy. Selden, the murderer who haunts the moors, is directly compared to a caveman when Watson first sees him. Master plotter Stapleton, the one who arranged his uncle's death and tries to do the same with his cousin Henry, is called a "throwback" when Holmes descries how much a portrait of a 17th-century Baskerville resembles Stapleton. Stapleton's real name is the same as that of his father Rodger Baskerville, and no one knew of Stapleton's existence because he was born abroad, when his father left England under some cloud. In fact, a fair number of modern Britons have similar clouds. Stapleton and his wife Beryl get involved in some vague corruption long before the hound plot, and Laura Lyons, one of Stapleton's pawns, suffers from having made a bad marriage, though Doyle imputes all the wrongdoing to a no-good husband. If, as Mortimer believes, all disease really is a "reversion" to some less exalted state, that would include the disease of crime, which can be cured only by the relentless logic of a master detective.

While the cinema has its own ways of conveying mythicity, so far even the most faithful adaptations of HOUND known to me haven't been able to tune into Doyle's myth-theme. After finishing the novel, I re-watched the 1939 version again. Sure enough, the script only uses the prehistoric settings briefly and doesn't even show the villain meeting the harsh justice of a death in the Grimpen Mire. It's not impossible, though, that there's some HOUND-film I've not seen that taps into the deeper theme, and I look forward to finding it. 

ADDENDUM: I didn't originally apply the "clansgression" label to the 1902 novel, because Doyle downplays the fact that Stapleton is Sir Henry's cousin. And the author certainly does not pass comment on the fact that when Stapleton seeks to pimp out his wife by causing Sir Henry to fall for the glamorous Beryl, he's "sharing" her with a first cousin, even though (1) no sexual congress takes place, (2) Beryl does not become emotionally entwined with Henry as he does with her, and (3) Stapleton/Baskerville becomes jealous of the tete-a-tete even though no transgression has occurred. The novel ends with Stapleton's death and the assertion that Beryl knew nothing of the murder plot, implying that she'll be exonerated of complicity-- though Doyle also devotes little space to the cooling of Henry's passion for his cousin's wife.