Linking back to P136, it had best be stated at the outset that primitive animal eroticism is one of the subjects, and Darkchilde is the best example of that. (This is quite reminiscent of Greek comedies (see Aristophanes P47) and the lewdness of Roman graffiti (see Cleopatra HB18).)
In the post, I compare Darkchilde's venemous tongue to the picture of Einstein's, meaning that the primitive or reptilian is always there owing to large-scale similarities in nature.
The similarities are the physical reality which the modern order has replaced; the fertile has become sterilized, and we live in a convincing illusion of the vanishing-point of technique (logical induction.)
(are you convinced yet?)Primitive means physical power, and the physical imbues the psyche with gaiety and grit. While the modern order has abandoned primeval physical reality, the psyche languishes in a state of random confusion, unable to act through wont of the action principle.
This state of affairs is physically and psychologically 'safe' in the sense of sameness, but inhabits a dark land of perpetual optimism. The mental domination of electromagnetic impulses as opposed to the elemental - touching, alluring strength.
That sounds pretty weird, but in fact without melancholy there can be no psychic strength and no possibility of revival. Primeval physicality imbues the psyche with strength; revival comes from metamorphoses that connect us to nature; death, decay or transformation. The truth of that primitive strength of the soil was pursued in BWS's Adastra in Africa (prev), bit I want here to apply it in a more literary sense.
If comicbook myths are a form of detritus, they revive by being transformed. This is somewhat akin to the classical Ovid cited in HB207, where the myth of Daphne is related to Virgil (Aeneid) and Homer, although less explicitly erotic.
Comics 'advance' by transformation, but the primitive elements remain intact since they inhabit a primeval world. A primeval physical reality imbues psychic strength, which is precisely what the modern order lacks.
The primeval physicality is animalistic, brutal and somewhat erotic, and imbues a psyche of strong empathic connection. This is so in the animated X-Men described earlier.
The animation captures the strong empathic solidarity of the characters very well, while shifting and merging plotlines into a more compact narrative (not difficult with Claremont!)
While in Ovid the closeness and resemblances of difference can take-on quasi-incestuous tones, in comics it's more a case of the resemblance of ALL the characters in a primeval universe of fertility.
Extreme interrelation and inter-breeding is typical of the X-Men universe - Corsair being revealed as Scott's dad, etc. All the characters resemble eachother or, in other words, they have large-scale similarities. But this enables the differences to be strongly delineated.
In the modern order there are no primeval similarities, only small differences. In the primeval world everything is bigger, stronger, more blatant.
As with Darkchilde, lust, hunger, beauty, danger are ever-present. Instead of the head being dominant, it is the throat and the song of the heart.
GONE WITH THE WIND (In Godard's Band of Outsiders, one of the cinema-obsessed characters remarked that the older he got the harder it was for him to determine when movies ended and real life began - sleeve notes to Social Call)
The primeval world has similarities that are almost bestial; there is a closeness to nature that makes for an animal erotic situation. The other element of a primeval situation is the powerful predator-prey element, since this is the other element of a physical reality.
In the best stories the two become one, as in the Phoenix saga where Jean Grey becomes a predatory danger. The predatory famine is quelled by the Shi'ar and Scott's love.
Then there's the Storm/Forge story (P208), where their love turns into a dangerous obsession and then a rivalry. The other X-Men characters have similar attributes. The chaste Rogue who indulges in dangerous games.
Beast who falls for a sentient female spaceship owned by Apocalypse. Professor X who has a psychic rapport and stong affinity of mutual interests with Princess Lilandra.
Strong affinities of a rebellious psyche can only occur where large-scale physical similarities of a natural order maintain the primeval force that the modern order denies in the name of the sterile sameness of the mirror of illusions. The electric future of inductive logic. We are run by mini-mini Einsteins who use inductive logic as s tool of self-aggrandisement.
Capital is simply the practical application of the use of the ego/illusion. The head dissociates the body from the song of the throat, which connects us to the supple, reptilian spine and all the active pursuits of the natural hunt (Diana) and Noto's underworld of revival (see prev.)
Physical strength is denied by the omnipotent head of acolytes. The X-Men's Beast may be discrete, but the pursuits of the primeval are still his - if his choice of mate is wanting.
The primal physical and the strong psyche go together. It's somewhat equivalent to the Nightclub settings of Dazzler. The Inner Circle's Edwardian serving girls and svelte settings are a warped version (the Hellfire Club on which it was based was hardcore, by all accounts.)
The needs of a commune are empathy of psychic solidarity, which comes from the primal physicality of decadence and revival - the divine natural rhythms.
Action is directed to primal needs. The material emptiness of capital is simply a sign of the numerical compulsions and illusions of the head; the mental as opposed to the elemental.
