Howard is marked, and those three were models for writers of American pulp-style fantasy, as well as sword-and-sorcery, which Haggard, via Eric Brighteyes (1891) with its retelling of the Norse sagas, also prefigured. Haggard, both through his Lost World/Lost Race and through his historical novels and colonial romances, influenced many of the adventure writers who penned stories for American and British pulps, authors as various as Harold Lamb, Talbot Munday, and Arthur O. Friel. Haggard was also read by C.S. Lewis and J.R.R. Tolkien where his influence is also visible in these authors' plot and descriptive passages. Through them Haggard's Quatermain has influenced what Pringle calls the "British `scholarly' stream of fantasy," (Pringle, e-mail) which remains dominant in the fantasy genre. Quatermain himself, the Great White Hunter, the single character most people remember from Haggard, is representative of all that Haggard established and influenced. As Haggard's lead character, he stands in for Haggard in League, and represents all that Haggard did. MINA MURRAY Likewise, Mina Murray is, in her own way, something of an archetype. Her original appearance was as Mina Harker in Bram Stoker's Dracula (1897). The character of Mina Harker in Dracula is somewhat at odds with the character of Mina Murray in League. In part this is because of the way in which Mina has changed, in the world of League, since the events of Dracula. But, coincidentally or deliberately, Alan Moore's Mina Harker is in many ways similar to a large number of female characters in late-Victorian-era genre fiction and is in large part an archetypal Victorian genre heroine. Despite the popular stereotypes of the Victorian era, women in England were presented with a variety of role models to emulate. Clerical, medical, sociological, and political spokesmen, all the mouthpieces of high culture, stressed the sanctity of marriage, family, duty, chastity, modesty, and other attributes that we today think [continues]