If you’ve ever jumped out of a plane—or party bus, or attack helicopter—to take part in the cultural phenomenon of attempting to kill 99 of your closest friends on an ever-shrinking post-apocalyptic island, the opening moments of Pete Travis’s 2012 film Dredd should be familiar to you.
The spirit and the flesh. The ego and the id. The harp-bearing angel in a white dress lecturing the spandex-clad, tomato red devil.
In 1998, a new image joined this gallery of philosophical signs, supplanting the yin and yang symbol as the preferred picture of dualism for a generation of Nicktoon-loving ‘90s kid—a two-story house improbably erected of fish and bone.