In 1989, a great political change awaited Poland: with the fall of the Berlin wall and the flourishing of capitalism, the people behind the Iron Curtain would be set free. Karol Radziszewski was nine years old, living in Białystok, and, in a graph-paper notebook, he drew pages and pages of princesses in corrective eyewear, dogs with mermaid tails, and mysterious seductresses, whose exceptionally firm bosoms would be, sooner or later, bedecked in arrows shot into a heart or a flame.