Actual Western frontier culture is absolutely its own thing. Bandits, drought, wagon trains, Injuns, cowboys, saloons, all of it. But a lot of the romanticised potrayal seen in cinema, not so much. Half the time it's just a foreign story with a more marketable setting. The Magnificent Seven is famously a lift of The Seven Samurai, but it doesn't stop there.
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A Fistful of Dollars was directly adapted from Akira Kurosawa's Yojimbo. The film's protagonist, an unconventional ronin played by Toshiro Mifune, bears a resemblance to Eastwood's character: both are quiet, gruff, eccentric strangers with a strong but unorthodox sense of justice and extraordinary proficiency with a particular weapon.
Like Eastwood's character, Mifune's ronin is nameless. When pressed, he gives a pseudonym. The convention of hiding the character's arms from view is shared as well, with Mifune's character typically wearing his arms inside his kimono, leaving the sleeves empty. Prior to signing on to Fistful, Eastwood had seen Kurosawa's film and was impressed by the character.
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And for the record, there's a wandering, nameless ronin in pretty much every Japanese folk story. The same cannot be said for Westerns. This doesn't mean the archtype is exclusive to Japan, it just means anyone worth their salt who tries to create such a character will ineveitably pick up a book of Japanese folklore during their research.
If America had an unstable feudal system governed by cowboys before 1185, which I really hope it did, you can claim to have invented the archtype.