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"The Ayla Descent Theory" of Mary Sues
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"Children of the Earth," Luis Royo.
After the success of Jean M. Auel's stone age novel Clan of the Cave Bear, there was a very lengthy trend in the publishing world of stone age adventure novels aimed at women that lasted for a decade and only really fizzled out in the early 2000s. After all, "Ayla," the name of the main character of these books, was one of the top baby names of 1987.
The target audience for these books were weird midwestern aunts....you know, the Mists of Avalon and the Mercedes Lackey/Valdemar audience. Therefore, the Clan of the Cave Bear imitators also featured things of interest to the weird aunt audience: Scotland, redhaired women with sharp tongues, commanding wolves, Ireland, Feminism, riding herds of wild horses bareback in scenic locations, Wicca, matriarchial religions, swimming with dolphins....but above all else, American Indians (a culture this audience finds interesting, as anyone who has seen the home decor of a typical weird midwestern aunt can attest), with many novels set in Ice Age America, like Children of the Dawn, Reindeer Moon and the First Americans. Decades later, this audience would form the core fandom for Game of Thrones, and the character of Khaleesi Targaryen in particular.
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These books almost assuredly still have a place of honor on the book shelf of the weirdest woman at your job.
Nearly all of these imitators have two of Clan of the Cave Bear's defining traits: 1) a supremely beautiful, usually blonde athletic and statuesque main character over 5'11" who does not realize that she is so beautiful and desirable, who is good at a variety of different skills and is friendly with animals like hawks, dolphins, or horses, and 2) a love triangle between this aforementioned blond but innocent Venus and two bodybuilder muscular he-men cave hunks, one of whom is a blonde guy with long rock star hair (it was the 80s), and the other being a buff black guy with dreadlocks (or otherwise ethnic in some way).
The heroine usually picks the blonde guy in the end, but the audience usually picks the ethnic guy.
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In the late 90s and early 2000s, in the broader culture of fandom, it was fashionable to dump on "Mary Sues" (indulgent wish-fulfillment author personas in fanfiction) and the people who wrote them. Accusations of creating a Mary Sue approached a kind of hysteria. Even at the time, when everyone else was getting swept up in this, I thought that getting mad about aunties writing fanfiction showed a loss of perspective, and was a bit silly. Thankfully, we've benefitted from moral evolution: the consensus in fandom now is that writing aspirational characters is a harmless activity that tests a young writer's creative muscles, like the half-Vulcan pretty new ensign on the Enterprise that Kirk and Spock both fall in love with, or a new archer girl who Legolas falls in love with joining the Fellowship. This hate walked hand in hand with insecurities, in the exact same way that people worried about their appearance or concerned with their weight are often cruel to fat people, and there were frequent tests if this or that character in your writing was a Mary Sue.
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There was a running joke in this 2000s culture of anti-self insertion called the "Ayla Descent Theory of Mary Sues." The joke was that Mary Sues came into existence because Ayla, the beautiful, athletic heroine of the Clan of the Cave Bear novels, was the ancestor of their entire lineage, as the first known Mary Sue to ever exist in the historical record, described as being a statuesque blonde who did everything right and was always at the center of love triangles, and who changed human history.
According to the running joke, Mary Sues everywhere were descended from Ayla from Clan of the Cave Bear, and she was the first to exist, and Ayla was the explanation of where all the Enterprise's new ensigns main characters fall in love with come from.
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vintagegeekculture · 6 days
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The Evil Little Hairy Cave People of Europe in Pulp Fiction
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From the 1900s to the 1940s, there was a trendy theme in occult and horror stories that the explanation for widespread European legends of fairies, brownies, pixies, leprechauns and other malicious little people, was that they were a hereditary racial memory of the extremely small non-human, hairy stone age original inhabitants of Europe, who still survive well into modern times in caves and barrows below the earth. Envious of being displaced on the surface, these weird creatures, adapted to the darkness of living underground and unable to withstand the sun, still mean mischief and occasionally go out at night to capture someone.... usually an attractive woman....to take to their dark caves for human sacrifice.
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Displaced by the arrival of Indo-European language speakers at the dawn of the Bronze Age, these original, not quite human stone age people of Europe were driven deep underground into caves and barrows below the earth, where they went mad, adapted to the darkness and acquired a fear of daylight, became extremely inbred, in some cases acquired widespread albinism. It is these strange little people who gave the descendants of Europeans a haunting racial dread of places below the earth like mines and caves, and it also is these strange, hairy troglodytes who originally built the uncanny and mysterious menhir, fairy rings, and stone age structures of England, Scotland, and Ireland that predate the coming of the Celts and Romans.
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In some cases, these evil troglodytes are usually identified with the mysterious Picts, the pre-Celtic stone age inhabitants of the British Isles. In some cases, they are identified with the Basque people of Spain, best known as the inventors of Jai Alai, and the oldest people in Europe who speak a unique language unrelated to any in the world.
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The original codifier of this trend was Arthur Machen, a horror writer who is less remembered than his contemporary, Henry James, but who may be the best horror writer in the generations between Poe on the one end and Lovecraft/CL Moore/Clark Ashton Smith on the other. His story, "the White People" from 1904 (a reference to their strange cave albinism) was a twisted Alice in Wonderland with a girl who is irresistibly attracted to dark pre-Roman stone age ruins and who is eventually pulled underground.
In addition to being a great horror writer, Arthur Machen was a member of the Hermetic Society of the Golden Dawn, an occult organization, and was often seen at the Isis-Urania Temple in London. Many of his works have secretive occult knowledge.
H.P. Lovecraft in particular always pointed out Arthur Machen as his single biggest inspiration, though he combined Machen's dread and occultism with Abraham Merritt's sense of fear of the cosmic unknown, seen in "Dwellers in the Mirage" and "People of the Pit."
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Another and scarier example of this trend would be "No Man's Land," a story by John Buchan, a Scotsman fascinated by paganism and horror, who often wrote stories of horrific discoveries and evil rites on the Scottish moors. He is often reduced to being described as a "Scottish Ghost Story" writer, a painfully reductivist description as in his career, Buchan wrote a lot of thrillers, detective, and adventure stories as well. In later life, he was appointed Governor General of Canada, meaning he may be the first head of state to be a horror writer.
It was Buchan who first identified the cave creatures with the Picts, something that another Weird Tales writer decades later, Robert E. Howard, would roll with in the 1920s.
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Howard is a very identifiable kind of modern person you often see on the internet: a guy who talks tough, but who was terrified to leave his small town. He created manly man, tough guy heroes like Conan the Barbarian, Kull, and El Borak, but he himself never left his mother's house. It's no wonder he got along well with his fellow Weird Tales writer and weird shut in, HP Lovecraft. With 1920s Weird Tales writers, despite your admiration for their incredible talent, you also can't help but laugh at them a little, a feeling you also apply to a lot of Victorians, who achieved incredible things, but who are often closet cases and cranks who died virgins ("Chinese" Gordon comes to mind, as does Immelmann).
With Howard, his obsession with the Picts and the stone age cave dwelling people of Europe started with an unpublished manuscript where at a dinner party, a man gets knocked out and regresses to his past life in the Bronze Age, where he remembers the earliest contact between modern humans and the original inhabitants of the British Isles, the evil darkskinned Picts. This is a mix of both the "little cave people" story and another cliche at the time, "the stone age past life regression novel," another turn of the century cliche.
Still with the Picts on his mind, Howard would later create Bran Mak Morn, a Pict chieftain, who predated Kull and Conan as his Celtic caveman muscle hero. Howard was of Irish descent and proudly anti-Colonial and anti-British, with his Roman Empire and Civilized Kingdoms as a stand in for the British and other Empires, which he viewed as rapacious and humbug, a view shared by his greatest inspiration, Talbot Mundy. His "Worms of the Earth" gets to the heart of why these little cave people scare us so much: they remind us that we live on land that is impossibly ancient and we don't fully understand at all.
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It was another Weird Tales Writer a decade later who wrote one of the last stories about the little hairy cave people of Europe, though, Manly Wade Wellman in 1942. Wellman was mainly known for creating the blond beefcake caveman hero Hok the Mighty set in stone age times, and for his supernatural ghost stories of Silver John the Balladeer set in modern, ghostly Appalachia (like many ex-Weird Tales writers, he made a turn to being a regional author in his later career, in the same way Hugh B. Cave became a Caribbean writer), but Wellman also had a regular character known as John Thunstone, a muscular and wealthy playboy known for his moustache who used his great wealth to investigate the supernatural and the occult. Thunstone had a silver sword made by St. Dunstan, patron of Silversmiths, well known for his confrontations with the Devil.
Most John Thunstone stories featured familiar stories, like a demon possessed seance and so on, but one in particular featured a unique enemy, the Shonokins.
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The Shonokins were the original rulers of North America, descendants of Neanderthal man displaced by American Indians. This fear that the land we live is ancient and unknowable and we just arrived on it and don't know any of its secrets is common to settler societies, who often hold the landscape with dread, as in Patricia Wrightson's fantasies of the Australian Outback. It was easy enough to transport the hairy cave people from the Scottish Moors to North America. I suspect that's what they are, a personification of a fear shared in the middle class, that in the back of their minds, that everything they have supposedly earned is merely an accident of history, built by rapacity and the crimes of history, and that someday a bill will come due.
A text page in the May 1942 issue of Weird Tales gives strange additional information on the Shonokins not found elsewhere:
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Since then, there have been too many examples of evil cave people who predate Europeans. Philip Jose Farmer's "The All White Elf" features the last survivor of a pre-European people who live in caves. A lot of other fiction of course has featured the Picts, but according to our modern scientific understanding, which describes them as much, much less exotically, as a blue tattooed people not too different and practically indistinguishable from the Celtic tribes that surrounded them, and which they eventually blended into.
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vintagegeekculture · 12 days
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Samantha Fox, 1985
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vintagegeekculture · 14 days
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Katja Skorjanc.
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vintagegeekculture · 14 days
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1977
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vintagegeekculture · 20 days
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John Pertwee safety PSA for SPLINK.
SPLINK is an acronym that stands for
(First find a) Safe (place to cross, then stop)
(Stand on the) Pavement (near the kerb)
Look (all round for traffic and listen)
If (traffic is coming, let it pass)
(When there is) No (traffic near, walk straight across the road)
Keep (looking and listening for traffic while you cross).'
Because of the extreme awkwardness of this impossible to remember acronym, it is generally considered to be one of the worst PSA campaigns of all time, and is frequently parodied in British media.
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vintagegeekculture · 20 days
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In “My Lucky Stars” (1986), to enter a Japanese amusement park, Jackie Chan dressed up like the little girl robot Arale from a Japanese comic and even had a sword fight in the costume. 
Jackie Chan and comic artist Akira Toriyama (best known for Dragon Ball) were fans of each other and met in 1986.
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vintagegeekculture · 20 days
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The Chinese Cultural Inspirations for Dragon Ball Z and Super
Journey to the West was only the beginning. 
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A lot of people are vaguely aware that Dragon Ball was inspired by Chinese culture and Hong Kong Kung Fu movies and novels, but are unaware of how deep and long lasting it goes. The Japanese spent the 1980s fascinated by China, which opened up from being a closed society for decades in 1978; the most famous human being in Japan in the 80s was either Michael Jackson or Jackie Chan. 
In fact, a lot of people commonly believe that the Chinese action movie and Kung Fu novel cultural and media influence on Dragon Ball ended very early on. This is untrue. Sure, we started to see qipaos and cheongsams less frequently when they headed to West City, but it absolutely did not finish, because there’s tons of influence to see even as impossibly late as Dragon Ball Super. Interestingly, I don’t think any of these point of inspirations have been pointed out before, mainly because a lot of Chinese adventure novels are simply not available in English. 
The Piccolo/Gohan plot was inspired by the Chinese action novel “Heavenly Sword and Dragon Sabre.”
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Okay, tell me if you’ve heard this story before: a truly demonic, weird looking monster villain is defeated by a martial arts hero, but by circumstance, is forced into training his greatest enemy’s young son. The villain trains the young boy, the son of his enemy, in martial arts and over time, becomes like a second father or uncle to him and his family, putting the boy in his “evil” sect, and thanks to his love of his rival’s son, this baddie turns over a new leaf and goes from evil to just…grumpy, and becomes a loyal, though gruff, ally of the boy.
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Of course, the events of Heavenly Sword and Dragon Sabre are a bit different from Dragon Ball in details. The Lion King becomes Wuji’s teacher because they are both stranded together on an island after a shipwreck, for instance, and he is blinded and made vulnerable. Also, the Lion King wasn’t so much evil so much as he was misunderstood by the orthodox martial world. However, in broad outlines, this trajectory for a face turn (becomes friends with his greatest enemy’s son, and becomes like a second father to him as he trains him, causing the villain to become a gruff good guy and ally) is essentially from one of the most famous Chinese novels ever written in the 1960s. 
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Oh, and while we’re at it, Gohan is likewise inspired by another character from a Louis Cha novel: the Prince of Dali Duan Yu in the Kung Fu novel Demigods and Semi-Devils. The Prince in that novel is a naïve, pacifistic scholar who prefers books to fighting, and who was raised to be timid and avoid combat, absolutely out of step with his family, all of whom are martial artists and warriors. In fact, the beginning of the story is the prince gets incredibly lost in the wilderness, where the hopelessly naïve prince is utterly out of his depth, with all the robbers and scary beasts, and needs to be saved by real martial artists that protect him like fairy godparents. He spends the first part of the story running away from everything, scared as hell. However, by circumstance, he has naturally high power he cannot fully initially control, and eventually realizes that even scholars and others who hate fighting have to sometimes become fighters to protect those they love.
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The Duan Yu part of Demigods and Semi-Devils was made into a film, the Battle Wizard, which was reviewed by PewDiePie. The Dragonball similarities went over his head because, honestly, PewDiePie does not strike me as a perceptive person. 
Hit was based on the screen persona of Chow Yun Fat.
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Chow Yun Fat was a Hong Kong cinema superstar who was to director John Woo what Robert de Niro was to Martin Scorsese. There are three giveaways that Hit was based on Chow Yun Fat. One, he’s an assassin, same as Chow Yun Fat’s character in the Killer, and is even given a sequence that’s a John Woo homage with an assassination in an office building with guns pulled on an empty elevator in an act of misdirection. Second, he’s wearing the single piece of clothing Chow Yun Fat is associated with, a black trenchcoat (fun fact: in Hong Kong today, trenchcoats are called Brother Mark Coats, after Chow Yun Fat’s character in John Woo’s A Better Tomorrow). Third, his power is essentially bullet time, a visual technique refined by John Woo in Hong Kong in the 80s and 90s in his gunplay triad movies starring Chow Yun Fat (what, you think the Wachowskis invented it?).
The Goku/Vegeta relationship is from “Legend of the Condor Heroes.”
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Here’s a story you might have heard before. It’s about two rivals, but by circumstance, one is raised in the wilderness beyond civilization, where he becomes an honest and goodhearted, though overly naive bumpkin, martial arts prodigy. The other is raised a wealthy prince by a conquering enemy, who grows up to also become an armor wearing martial arts expert, but also a cunning, arrogant, emotionally distant sociopath.
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The similarities go into their love lives, too. The unsophisticated bumpkin hero is betrothed to a daughter of a powerful bearded barbarian king against his will, while the one hint of vulnerability and loss of emotional detachment in the otherwise sociopathic prince, the crack in his smirky arrogance, is that he loves a girl he otherwise pretends to hate, and even fathers a child with her who becomes a main character later.
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This is Guo Jing and Yang Kang from Legend of the Condor Heroes. The most fascinating similarity, and proof that female psychology is the same all over the world, is that the fangirls love the emotionally distant, arrogant, and sexy/evil prince (remember when Rhonda Rousey said her first crush was Vegeta?). Girls everywhere love bad boys and sexy villains, and oh boy, do they love Prince Yang Kang. I think you can probably guess who all the fan art is about for Legend of the Condor Heroes, and what ship is the most popular.
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I have to emphasize that Legend of the Condor Heroes, which came out in the 1950s-60s, is possibly the most widely read novel by the most widely read novelist on earth - the sales on that dwarf Twilight and Harry Potter. It’s probably not an exaggeration to say nearly every Chinese person, even if they never read it, knows who these characters are. In fact, Yang Kang and Guo Jing from Condor Heroes are basically repeated over and over in Asian, Chinese, and Japanese culture. Does the unsophisticated but gifted martial arts prodigy bumpkin hero, and the glib, arrogant wealthy prince rival remind you of….another duo of rivals?
Gohan/Videl comes from Little Dragon Maiden
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One of the most important and influential Martial Arts novels of all time is “Return of the Condor Heroes.” A sequel to Condor Heroes, this time, the main character is the teenage son of one of the main characters from the first novel. It gets even more familiar from there.
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“Return of the Condor Heroes” was about a martial arts couple who are also master and student, the same age but vastly different in experience and skill so one somehow seems “older,” and they fall in love because the circumstances of training together requires they spend lots of time together and become intimate. The training story and the love story are exactly the same in “Return of the Condor Heroes.” The dead giveaway one story inspired the other is that in both, the most significant training sequence is one where the master teaches the student how to fly (though Return used a chamber of sparrows for lightness Kung Fu).
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There are some differences of course – obviously in Return of the Condor Heroes, the genders of teacher and student are flipped from Gohan and Videl (it’s the Little Dragon Maiden who is a powerful teacher, and the boy who is the student). It was the girl (Videl) who was a rebellious delinquent in Dragon Ball Z, when it was the opposite in the novel, true. But it was obvious this story was in the back of the creator’s mind as a way to combine Kung Fu with the love story, by making teacher and student lovers.
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Addendum: hey, remember that awesome movie Kung Fu Hustle, the one Hong Kong movies normies have seen? Well, remember the landlord and landlady? The landlady was named Xiao Lung Nu, or Little Dragon Maiden, and her husband was named Yang Guo – the same as the main characters in Return of the Condor Heroes. It was a joke that went over the heads of Westerners, by giving these names of attractive and naïve young people in love with each other to a surly, bitter, arguing and chain smoking middle aged couple who don’t give a damn.
Going Super Saiyan comes from “Reincarnated” aka “Bastard Swordsman.”
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Stop me if this sounds familiar: a terrifying warlord tyrant prone to killing underlings who displease him has achieved a level of skill and cultivation so tremendous nobody can stop him. But there is one, and only one, thing he fears and that can defeat him: a long-lost legendary skill that nobody has achieved in recent memory, that includes a supernatural combat power transformation that turns the hair light to indicate it worked.
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This is “Silkworm Skill” from Reincarnated aka Bastard Swordsman, a novel and TV series from Hong Kong in the early 1980s. Of course, there are differences. To get the power boost and new hair color, the hero has to jump in a cocoon he weaves himself. In fact, the scene is so well known that they actually have it on the poster.
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(To those saying “Super Saiyan turns your hair blonde, not white” my response is that it turns hair white, or uncolored, in the comic book.)
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The idea of your hair turning white to indicate a new supernatural combat transformation or martial state wasn’t created by Bastard Swordsman, though – though it is the best example and probably the one most familiar to a 1980s audience due to the hugely popular books and TV series. For an older example, a famous Chinese movie based on a folktale is “Bride With the White Hair,” about a bride who’s hair turns white when she is betrayed, in her anger, she becomes less a woman and more a supernatural creature of vengeance (interesting that anger should be the means to unlock it).
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vintagegeekculture · 20 days
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“Dragon Power” (1986), was originally the first Dragon Ball video game, but as Dragon Ball was not well known in the US, it was modified somewhat on arrival.
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vintagegeekculture · 1 month
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"Space Energy comes from Sugar Smacks"
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Ken Barr
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vintagegeekculture · 1 month
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Megaloman, 1979.
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vintagegeekculture · 1 month
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Big Robot, a fumetto (Italian comic) created by Alberico Motta. Scifi comics were rarer in Italy.
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vintagegeekculture · 1 month
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Maxfield Parrish's eerie, ominous 1912 cover of the Story of Snow White.
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vintagegeekculture · 1 month
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"Trog" (1970), a b-movie about a missing link who goes insane when he hears rock music.
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