In fiction, an antihero[1] (sometimes antiheroine as feminine) is generally considered to be a protagonist whose character is at least in some regards conspicuously contrary to that of the archetypal hero, and is in some instances its antithesis in which the character is generally useless at being a hero or heroine when they're supposed to be one. Some consider the word's meaning to be sufficiently broad as to additionally encompass the antagonist who (in contrast to the archetypal villain) elicits considerable sympathy or admiration. The term dates to 1714,[2] although literary criticism identifies the term in earlier literature.[3]
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There is no definitive moment when the antihero came into existence as a literary trope. The antihero has evolved over time, changing as society's conceptions of the hero changed, from the Elizabethan times of Faust and William Shakespeare's Falstaff, to the darker-themed Victorian literature of the 19th century, such as John Gay's The Beggar's Opera or as a timid, passive, indecisive man that contrasts sharply with other Greek heroes[4] to Philip Meadows Taylor's Confessions of a Thug. The Byronic hero also sets a literary precedent for the modern concept of antiheroism.
The traditional hero type is classically depicted to possess an image that is larger than life. They are generally expected to be more physically attractive, stronger, braver, more clever or charismatic than the average everyman. Unlikely heroes are simply characters who may not be conspicuously flawed, but simply ordinary people thrust into extraordinary circumstances.
A typical kind of Brazilian stock character who is often depicted as a trickster who lies, steals, and has little qualms about manipulating even his best friends. Despite this rather negative and villainous attitude, the malandro is often depicted as a hero because, in contrast to his methods, he does not use his cunningness for true harm and malice. Rather, he uses it to prevail against the adversity that surrounds the character, and his actions may actually have positive effects on the others, even if unintended, thus making him a sort of Lovable rogue.
Modern-day heroes have enjoyed an increased moral complexity. In 1930, originally introduced as a mysterious radio narrator by David Chrisman, William Sweets, and Harry Engman Charlot for Street and Smith Publications, The Shadow was fully developed and transformed into a pop culture antihero icon by pulp writer Walter B. Gibson. Mid-20th century playwrights such as Samuel Beckett and Tom Stoppard showcased anti-heroic protagonists recognizable by their lack of identity and determination. Pulp fiction and noir detective stories of the mid-20th century saw characters such as Sam Spade, who lacked the glorious appeal of previous heroic figures, become popular. Influenced by the pulps, early comic books featured anti-heroic characters such as Namor the Sub-Mariner (who would just as soon conquer humanity as try to save it).[5] Marvel Comics most prolific anti-hero is perhaps The Punisher, who is more than willing to kill those who he views as deserving of death. Sergio Leone's "spaghetti westerns" showcased a wandering vigilante (the "Man with No Name" played by Clint Eastwood) whose gruff demeanor clashed with other heroic characteristics. Frank Miller said that Sin City character Marv is said to be the story's equivalent of an antihero. One of the more famous female antiheroes is Catwoman, who was historically a supervillainess foe of Batman. Her usual crime was burglary, but she is not evil as she has her own moral code, and abhors killing. Catwoman has even, on occasion, helped Batman fight crime and villains in East End.
Many modern antiheroes possess, or even encapsulate, the postmodern rejection of traditional values symptomatic of Modernist literature in general, as well as the disillusion felt after World War II and the Nuclear Age. The continuing popularity of the antihero in modern literature and popular culture may be based on the recognition that a person is fraught with human frailties, unlike the archetypes of the white-hatted cowboy and the noble warrior, and is therefore more accessible to readers and viewers. This popularity may also be symptomatic of the rejection by the avant-garde of traditional values after the counter-culture revolution of the 1960s.[6]
In the postmodern era, traditionally defined heroic qualities, akin to the classic "knight in shining armor" type, have given way to the "gritty truth" of life, and authority in general is being questioned. The brooding vigilante or "noble criminal" archetype, seen in characters like Detectives Vic Mackey and Dirty Harry, is slowly becoming part of the popular conception of heroic valor rather than being characteristics that are deemed un-heroic.[7]