Ruined castles, deserted cemeteries and grotesque monsters collided with a world of fast cars, guns and glamour in stories that revelled in depictions of sex and violence that were filtered through the symbols and structures of the Gothic imagination.
Wallestein can be understood as a powerful fantasy figure that spoke to the very human desire to cast off the constraints of civilised society and indulge our most primal and universal urges.
His refusal to limit his behaviour can be understood as being emblematic of a wider repudiation of the need to conform to the standards of a society that had long since proved itself incapable of protecting those most in need.
[10] The Scorpion's visual design created a pictorial link that embedded him firmly within the iconography of capitalism, the adverse social effects of which lay at the heart of Wallestein's thematic construction.
Other genre signifiers, such as frequent scenes of female nudity and brutal, sexualised violence, are similarly common to both giallo and Wallestein.
Although the series was successful internationally, with the character appearing in France and South America as well as its native Italy, Wallestein is now largely forgotten in the English-speaking world.