anti hero essays

The anti-hero

A hero is defined as “someone admired for his bravery, great deeds or noble qualities”. There are three categories to which all heroes can be classified into, one of which is the anti-hero genre. An anti-hero has the role of a hero thrust upon them. They do not particularly want to be brave or noble but their actions lead them to be a hero. Facing difficult decisions and doubt are also classic traits of an anti-hero. They often lack confidence in themselves, refuse to accept their fate as a hero or don’t even realise their status or ability. At a certain point, anti-heroes usually transcend into either a tragic or romantic hero.

Anti-heroes can be identified in many different texts, however, all of them consist of those traits. In ‘The Crucible’ by Arthur Miller, John Proctor is the hero of the play. He is a good man, described as being : “the kind of man –powerful of body, even-tempered, and not easily led…” He is feared and respected throughout the town of Salem, but few know that he is guilty of adultery with the teenage servant Abigail Williams. As a result of this affair, Proctor is caught in guilt, which effects his self-perception. “Were I stone I would have cracked for shame this seven month! ” He regards himself as a fraud.

These insecurities are the foundation of Proctors character development into an anti-hero. The first signs of Proctor being an anti-hero evolve when accusations of witchcraft arise and he is torn between confessing to adultery and revealing the information he knows to save innocent lives. He understands his obligations but is still hesitant due to his fear of the consequences. He says to Elizabeth “I know I cannot keep it! I say I will think on it! ’ The difficult decision and pressure is thrust upon Proctor and his reluctance to reveal his knowledge enhances his anti-hero visage.

He puts his reputation before doing the right thing and confessing. Proctor finds a way of exposing Abigail and her friends as liars without having to make his affair public. He persuades Mary Warren to tell the truth. Eventually Proctor admits to having committed adultery but not to be brave or heroic, but out of desperation to save his wife. Sensing Mary Warren’s weakness, Proctor is forced to talk about his relationship with Abigail. Although it seems noble, this heroic notion is categorised under anti-hero because Proctor merely confessed because he had to.

He did not want to and had avoided revealing his affair but it was the last thing he could do because of Abigail’s influence over Mary Warren. His last attempt at saving Elizabeth fails and Proctor is also accused of witchcraft. Proctor is sentenced to hang but given an opportunity to save himself- he must confess to being aligned with the devil. This choice is the climax of the play. Faced with yet another difficult decision, Proctor is torn between a life of lies or an honourable death. Being an anti-hero, he does not immediately come to the more heroic decision. Instead, he consults Elizabeth for advice.

In the end he chooses to commit himself to his friends and die an honest man. He states that “I have three children – how may I teach them to walk like men in the world, and I sold my friends? ” Proctor reasons that in confessing, he can never raise his children to be virtuous men without being labelled a hypocrite. By facing death, he proves his loyalty to friends and maintains a respectable reputation. Proctor faces his own death and in making this decision, Proctor becomes a tragic hero. Unlike Proctor who goes from anti-hero to tragic hero, Thomas Anderson transitions to a romantic hero.

Thomas Anderson is the anti-hero of “The Matrix”. Anderson is immediately established as the heroic figure, constantly referred to as “the one” but his doubt shapes him into an anti-hero. He is initially the classic anti-hero with a very notable twist – his role is not thrust upon him, all his decisions are consciously made. Neo does not see himself to be special and this is clearly evident when he is attempting to escape from the agents out the window. He can be heard to say “Why is this happening to me? What did I do? I can’t do this. ” He does not believe in himself and therefore can not stretch to his full potential inside the Matrix.

This is a characteristic of his that is maintained throughout the movie, and it is no coincidence that he is the last person to believe that he is the One. He also appears quite unwilling to be the “hero” at some points, for example when he learns about the matrix he is unable to handle the shock and refuses to accept it, shouting “No, I don’t believe it. It’s not possible. Stop. Let me out! Let me out! I want out! Stay away from me! I don’t believe… ” These are all classic antihero traits, but he also displays the elements of the romantic hero, particularly towards the end when Neo re-enters the Matrix in order to save Morpheus.

He knows that one of them must die, and the Oracle has told him that it will be up to him which one it is. Therefore, when he enters the Matrix he makes that choice, and knowingly goes to sacrifice himself for the sake of mankind. However, it is now that he is starting to believe in himself, and he also believes that he can bring Morpheus back. It is at this point that he starts to transcend into the romantic hero, he starts to believe in himself and to realise the truth. He sheds his old identity, Thomas Anderson and embraces his new one with the famous “My name is Neo. “

Similarly, in ‘Buffy the Vampire slayer’ (the movie), the anti-hero also transitions to a romantic hero. In this case, the hero is Buffy herself. A stereotypical teenage American bimbo who later on admits, “I didn’t even think about anything”, Buffy is tracked down my Merrick and told she is “the one”- the next slayer, chosen to battle the head vampire, Lothos. Like Anderson from The Matrix, Buffy is bewildered and does not fully comprehend how important she is. She sarcastically jokes “Let me get this straight- you’re saying that I have to go to the graveyard with you because I’m the chosen one and there are vampires?

Pfft! Does Elvis talk to you? ” Merrick tries again and again to convince her that she has been chosen but Buffy refuses to see anything as a higher priority than her social life. She is unwilling to take up the role but still listens to what Merrick has to teach her. She begins to believe in herself when Merrick proves to Buffy that she is “the one” by throwing a knife at her head unexpectedly, and Buffy catching it all the same. He claims “only the chosen one could have done it”. Buffy is then faced with the difficult choice all anti-heroes are faced with.

In her case, she must choose between her demanding social life and committing herself to being a slayer. Being an anti-hero, she does not choose to be a slayer enthusiastically. She furiously yells “Don’t you get it? All I want to do is graduate from high school, fly off to Europe, marry Christian Slater and die! ” It is when Merrick gives his life for her that Buffy fully accepts her responsibility and transitions to a romantic hero. She sacrifices her friends, school, boyfriend and senior dance to battle the mighty Lothos. All three texts have resemblances in terms of their development.

Each of the anti-heroes face confusion and doubt followed by a difficult decision, then an incident that inspires and gives them confidence, finishing with a heroic act. In the Crucible, Proctor is unstable because of his shameful affair with Abigail. Then he has to choose between exposing Abigail and admitting adultery. Then he almost confesses to witchcraft when he sees the Rebecca and he regains his senses and willpower to finally make the heroic act of dying for his friends and family. In the Matrix, Neo is unsure of what the Matrix is and the concept drives his curiosity mad.

He is then faced with the decision of the blue pill or the red pill. Next his courage is uplifted with Trinity’s kiss and faith in him so he awakens to finally fully apprehend the rules of the Matrix. In Buffy the Vampire Slayer, Buffy faces doubt as to whether she should believe Merrick and soon the decision whether slaying was worth sacrificing her social life. The death of Merrick and love from Pike encourages Buffy to go on, and she is able to defeat Lothos. Although the character developments are quite the same, each text uses different textual styles and techniques.

The Crucible is in the format of a play. John Proctor is established as the hero through the use of Miller’s contrast in characters. Upon his introduction, Proctor seems to be the only calm, sensible and logical character among the rising hysteria of Abigail’s threats, Parris’ damnations and babble of the Putnam’s. Proctor is easily set apart from the other characters and the beginning of the play due to the obvious differences in character. Miller also builds up the climax throughout the book by making the conversations very quick paced and intense. The Matrix relies heavily on the technique of symbolism.

It is used frequently throughout the film implying both vital and obscure things. For example, the use of sunglasses. They indicated a characters strength and vulnerability. Or the doors representing the choices in Neo’s life, the signs strategically placed throughout the film or even Neo’s name being an anagram of the word “one”. In Buffy, the film style is stereotypical and over exaggerated. The blonde bimbo cheerleader who faces the evil vampire with the black cape and fangs. The dialogue sounding somewhat like “that was so 5 minutes ago” and “oh, get out of my facial”.

Perhaps the stereotypical settings are used to make a clear contrast with Buffy when she begins to accept her true identity. She drops the bimbo attitude and takes life more seriously, claiming “Things I thought were so crucial have just become so stupid …it’s a stupid dance with some stupid people that I see every stupid day” Another aspect that the texts differ from each other is their cultural and social values. The Crucible is set in the Salem witch-hunt of 1962. The story revolves around the importance of Christianity and the harsh punishments for those who were not religious.

It reflected the society, from religion to roles of women in the family. It explored the themes of jealousy, love, reputation, revenge and adultery but at the same time also was an allegory of the 1950 McCarthyism. Witches representing the communists and Parris with the other judges representing the Un-American Activities committee. The Matrix was released in 1999 and reflects the present societies growing independence and rapid development of technology. It questions the audience as they are faced with the frightening possibility that Artificial Intelligence may take ver the world.

The film also portrays several cultural values. It is a direct parallel to Buddhism, Christianity and the Greek concepts of oracles. Buffy the Vampire Slayer, released in 1992 can be seen as a representation of teenagers of today. Taking for granted a “normal” life that revolves around school, parties and friends. The Crucible and The Matrix exhibit more cultural and social values than Buffy and they are both done exceptionally well, covering many different themes and aspects without taking away from the plot or story.

The Crucible, The Matrix and Buffy the Vampire Slayer are three totally separate texts that are linked in some ways, like their developments of character, and vary other ways, like in terms of technique and value exhibition. However, all three texts have a character that is the image of an anti-hero- whom will remain its own genre, with the same characteristics, no matter it be set in Salem, cyber space, high school- or anywhere else in the world. The anti-hero remains someone who has had it thrust upon them to be admired for bravery, great deeds or noble qualities.

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75+ Antihero Examples: Plus the Top 5 Types of Antiheroes (and How to Use Them in Writing)

by Joe Bunting | 15 comments

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When you think of antihero examples, you come across some of our favorite characters from from all of literature, film, and tv serials. After all, who doesn't like the bad boy who has a secret good side?

In this article, we're going to look at examples of some of our favorite antiheroes (also spelled anti-heroes), including why they fit this particular type of character. You'll also learn what an antihero actually is, including the origins of the literary term, their characters, the subtypes of antiheroes, as well as how writers can use them in a story. Finally, you'll get a writing practice exercise to use antiheroes in your own study or writing.

Top 7 Antihero Examples

To see how antiheroes really work, let's start by looking at a few of our favorite antiheroes from literature and film. Later, we'll look at a more comprehensive list, but here are our initial top seven antihero examples:

Holden Caulfield in The Catcher in the Rye by J.D. Salinger : Holden's antihero status comes from his rebelliousness, cynicism, and general disdain for societal norms and expectations.
Scarlett O'Hara from Gone with the Wind by Margaret Mitchell. Scarlett manipulates those around her for her own survival and benefit during and after the Civil War.
Humbert in “Lolita” by Vladimir Nabokov : Humbert's obsession with a young girl and his manipulation of the reader's sympathies through his narrative makes him a notorious antihero.
Bridget Jones from Bridget Jones's Diary by Helen Fielding. Bridget often makes poor decisions and struggles with societal expectations, but remains endearing.
Walter White in Breaking Bad . Walter's transformation from a mild-mannered chemistry teacher to a ruthless drug lord paints a riveting portrait of an antihero.
Arya Stark from Game of Thrones/A Song of Ice and Fire by George R.R. Martin. Arya's transformation from a young, innocent girl into a ruthless assassin seeking revenge, while remaining loyal to her family, qualifies her as an antiheroine.
The Beast from Beauty and the Beast . The Beast can be considered an antihero because he initially imprisons Belle. His character development throughout the film eventually leads him to heroism.

That's just a sneak peak of our favorite antiheroes in literature, film, and tv serials. You can skip ahead to our full list of 75+ antiheroes below.

But now that we've looked at some favorite examples, I'm sure you're already noticing some characteristics of antiheroes. Let's talk more about that and look at what antiheroes actually are .

Hero vs. Antihero: Antihero Definition

Before you can understand what an antihero is, you have to figure out what they're anti, namely a hero!

What is a hero?

A traditional hero is a heroic character who displays some or all of the following traits:

capability or prowess
strong morals
sense of justice

In other words, they're the “good guys,” the people who a community would hold up as model citizens.

They care deeply about their communities and honor. In effect, they set the example in their culture or kingdom.

What is an antihero?

Here's the definition of an antihero:

An antihero is a central character in a story who displays unheroic flaws or characteristics associated with villains, but who may garner more empathy and understanding as they can appear more human and relatable than traditional heroes.

In contrast to traditional heroes, characteristics of antiheroes usually include one or more of the following characteristics:

Immoral or morally ambiguous. Antiheroes are not afraid of doing what is considered immoral or wrong if it serves their purposes.
Selfish . Unlike traditional heroes, they are rarely in it for the right reasons, but are instead motivated by selfish gain. Because of this they usually make reluctant heroes in a story and are only motivated to help others if they can gain from it personally, as a last resort, or if they are personally impacted and against their “better” judgment.
Complex . Traditional heroes can be somewhat flat, since they only display the best values of the cultures they represent. However, antiheroes come with a complex array of both positive and negative characteristics, often making them more realistic and relatable.

Antiheroes originated in Greek mythology where most heroes (and gods!) have flaws and selfish ambition running beneath their heroic qualities.

5 Types of Antiheroes

Antiheroes can be divided into a number of types. Let's look at five of the most popular types along with some examples of antiheroes.

The Classical Anti-Hero

As I explained earlier, a classical hero is a character who always wins their battles with sharp intellect, unshakable self-confidence, and excellent judgment.

So it stands to logic that the classical anti-hero is terrible in a fight, riddled with self-doubt, and makes decisions based on self-preservation instead of bravery.

The classical anti-hero's story arc follows the conquering of his own fears and coming to terms with himself to fight whatever threat faces him.

An example is Frodo Baggins from The Lord of the Rings , since he's a decent guy, but there's a lot of baggage that comes with carrying that ring through three books.

The “Disney” Anti-Hero or the Knight in Complicated Armor

This is what most people tend to think of today when they think of an anti-hero. At their core, the Disney Anti-Hero is still fundamentally good, but doesn't have the relentless optimism of a classical hero.

They tend to be sarcastic and more realistic, and tend to put logic before honor, but they won't outright perform acts that are morally ambiguous. Like the Classical Anti-Hero, odds are pretty good that this type of anti-hero will develop into a classical hero by story's end.

Haymitch Abernathy from The Hunger Games trilogy and Severus Snape of Harry Potter fame are two good examples of this type of anti-hero.

The Pragmatic Anti-Hero

The Pragmatic Anti-Hero is basically exactly what it sounds like. Generally no worse than neutral in morality, the Pragmatic Anti-Hero takes a big-picture view of his role, and if something or someone needs to be sacrificed for the greater good, so be it.

They won't kill indiscriminately though: anyone who dies at the hand of the Pragmatic Anti-Hero either had it coming, or had to be killed in order to achieve the higher goal. These anti-heroes are equally as likely to defect from classical heroism by the end of the story as they are to convert.

Harry Potter himself, by the end of the series, fulfills this role, as he is constantly breaking rules, and uses two unforgivable curses and robs a bank by series' end in order to off Voldemort once and for all.

The Unscrupulous Hero

This is as dark as you can get with your anti-hero without crossing into villain territory.

The Unscrupulous Hero lives in a world where morality is made up of varying shades of gray, with their gray being slightly lighter than that of the villain's. Often they live in a really crappy setting, which accounts for their distrust of humanity and penchant towards violence. They're big on revenge, and when they take their revenge, count on it being something to see. There might be some collateral damage in their actions, but it doesn't faze them.

Jack Sparrow of the Pirates of the Caribbean film series and the Blues Brothers of the titular film are examples of this type of anti-hero. Their intentions are good, and they are fighting on the moral high side (barely!), but they don't really care how much damage they cause or who they double-cross on their way to achieving their goals.

The “Hero” in Name Only

These anti-heroes fight on the side of good, but they have no good motivation. Either their intentions are completely selfish, and they only happen to be pointing their weapons at the token bad guys, or their motivations are only slightly less terrible than the villain's. Sometimes they're just bored and need someone to point a gun at.

You'll still root for them, but you won't agree with a lot of the ways they do things.

Sherlock Holmes in the BBC's re-imagining of the character is an example, since he explicitly describes himself as a high-functioning sociopath, and makes it clear that he only takes on cases that he finds mentally stimulating. Dexter of the TV series of the same name walks the line between this and a villain protagonist.

75+ Antihero Examples

Now that you know how antiheroes work and the various types of antiheroes, let's look at more examples of antiheroes so you can see how they work in literature, film and tv serials, and even in the Bible.

At the end, we'll also look at some characters who are not antiheroes but who are commonly mistaken for them.

Antihero Examples from Literature

Raskolnikov in Crime and Punishment by Fyodor Dostoevsky : Raskolnikov is an antihero due to his conflicting morality, driven to commit murder out of a philosophical belief, but tormented by guilt and fear afterwards.
Jay Gatsby in The Great Gatsby by F. Scott Fitzgerald : Gatsby's constant bending of the law and obsessive pursuit of a lost love, despite its destructive potential, paints him as an antihero.
Alex in A Clockwork Orange by Anthony Burgess : As a violent and manipulative sociopath, Alex embodies the antihero through his sheer brutality, despite being the protagonist of the story.
Tyler Durden in Fight Club by Chuck Palahniuk : Tyler Durden's anarchistic worldview, disregard for societal norms, and creation of the destructive Fight Club mark him as an antihero.
Patrick Bateman in American Psycho by Bret Easton Ellis : Bateman is a Wall Street yuppie who hides a psychopathic alter ego, making him an antihero in his gruesome reality.
Winston Smith in 1984 by George Orwell : Winston defies the totalitarian state, but does so with moral ambiguity and fear, making him an antihero.
Macbeth in Macbeth by William Shakespeare : Despite being a tragic hero, Macbeth's ambition drives him to murder and madness, making him an antihero.
Severus Snape in the Harry Potter series by J.K. Rowling : Snape's complex character oscillates between villainy and heroism, hiding his true allegiance until the end, which earns him the antihero status.
Amy Dunne in Gone Girl by Gillian Flynn : As a manipulative, deceptive character who stages her own disappearance, Amy presents a deeply flawed yet fascinating antihero.
Yossarian in Catch-22 by Joseph Heller : Yossarian's attempts to maintain his sanity while others lose theirs in the face of war's absurdity illustrate his role as an antihero.
Humbert Humbert in Lolita by Vladimir Nabokov : Humbert's obsession with a young girl and his manipulation of the reader's sympathies through his narrative makes him a notorious antihero.
Captain Ahab in Moby Dick by Herman Melville : Ahab's monomaniacal pursuit of the white whale, despite the destruction it causes, designates him as an antihero.
Tom Ripley in The Talented Mr. Ripley by Patricia Highsmith : As a sociopathic charmer willing to kill to maintain his lies, Ripley is a quintessential antihero.
Lisbeth Salander in The Girl with the Dragon Tattoo by Stieg Larsson : Lisbeth's antisocial behavior, supreme intelligence, and unwavering quest for justice, often outside the law, characterize her as an antihero.
Sethe in Beloved by Toni Morrison : Sethe's deep love for her children leads her to commit horrific acts to save them from slavery, making her a tragic and complex antiheroine.
Sherlock Holmes in the series by Arthur Conan Doyle : Holmes's exceptional deductive skills are coupled with his socially abrasive personality and addiction to drugs, painting him as an antihero.
Dr. Frankenstein in Frankenstein by Mary Shelley : While he's the protagonist, Dr. Frankenstein, the creator of the monster in Frankenstein, is full of cowardice and lack of compassion for his creation.
Don Quixote in Don Quixote by Miguel de Cervantes : Don Quixote's delusions of grandeur, relentless pursuit of chivalry, and disregard for societal norms mark him as an antihero.
The Man in The Road by Cormac McCarthy : His will to protect his son in a post-apocalyptic world, even if it means compromising his morality, portrays him as an antihero.
Meursault in The Stranger by Albert Camus : Meursault's emotional indifference, lack of remorse, and existentialist worldview secure his status as an antihero.
Jack Burden in All the King's Men by Robert Penn Warren : Jack's moral ambiguity and role in the corruption of the political machine make him an antihero.
Billy Pilgrim in Slaughterhouse-Five by Kurt Vonnegut : Billy's passive approach to life, time-travel-induced indifference towards death and suffering, and his role as a war survivor make him an antihero.

Antihero Examples from Film and TV Serials

Walter White in Breaking Bad : Walter's transformation from a mild-mannered chemistry teacher to a ruthless drug lord paints a riveting portrait of an antihero.
Tony Soprano in The Sopranos : As a mob boss trying to balance family life with the management of a criminal organization, Tony Soprano is a classic example of an antihero.
Don Draper in Mad Men : Despite his success in the advertising world, Don's habitual infidelity, alcoholism, and identity theft cast him as an antihero.
Michael Corleone in The Godfather series : Michael's transformation from a war hero to a ruthless mafia boss paints him as a compelling antihero.
Travis Bickle in Taxi Driver : Travis is a disillusioned taxi driver whose violent tendencies make him an antihero.
Dexter Morgan in Dexter. Dexter is a serial killer who targets other killers, making him a complex and dark antihero.
Deadpool in the Deadpool series : Deadpool is a superhero with a twisted sense of humor and disregard for conventional superhero traits, which makes him an antihero.
Hannibal Lecter in The Silence of the Lambs and Hannibal series : Hannibal's role as a murderous yet cultured and intelligent psychiatrist makes him a captivating antihero.
Frank Underwood in House of Cards : Frank's ruthless ambition and lack of moral constraints in his quest for power make him an antihero.
Tommy Shelby in Peaky Blinders : Tommy's criminal activities, paired with his loyalty to his family and his traumatic war experiences, create a compelling antihero.
Jessica Jones in Jessica Jones : Jessica Jones, a private detective with superhuman strength, is an antihero known for her tough exterior and traumatic past.
Rick Sanchez in Rick and Morty : Rick's brilliance is counterbalanced by his self-destructive tendencies and lack of empathy, making him an antihero.
Nurse Ratched in One Flew Over the Cuckoo's Nest and Ratched : Nurse Ratched is an antiheroine whose seeming professionalism hides a manipulative and abusive nature.
Rorschach in Watchmen : Rorschach's unwavering yet morally ambiguous sense of justice, alongside his violent methods, make him an antihero.
Lisbeth Salander in The Girl with the Dragon Tattoo : Lisbeth, a brilliant hacker with a traumatic past and a violent streak, is a classic antiheroine.
Mad Max in Mad Max series : Max's lone survivor character, coupled with his determination to survive in a post-apocalyptic world, make him an antihero.
Jack Sparrow in Pirates of the Caribbean series : Jack Sparrow's eccentricity, self-interest, and morally ambiguous actions make him an iconic antihero.
Al Swearengen in Deadwood : Al, a powerful and cunning brothel owner with a complicated moral compass, is a classic Western antihero.
The Hound (Sandor Clegane) in Game of Thrones : The Hound starts as a seemingly ruthless killer but evolves into a complex antihero with his own code of honor
Wolverine in the X-Men series : Wolverine's tendency to isolation, his often gruff demeanor, and his struggle with violent impulses amid heroism make him an antihero.
Léon in Léon: The Professional : As a professional hitman who takes in a young girl and teaches her his trade, Léon is a perfect example of an antihero.
Sarah Connor in the Terminator series : Sarah's transformation from a timid waitress to a hardened survivalist, willing to commit extreme acts for humanity's survival, marks her as an antiheroine.
V in V for Vendetta : V's revolutionary ideas and violent methods to attain freedom make him an antihero.
John Wick in John Wick : Wick garners our sympathy enough that we want him to succeed, but he's a retired hitman without much motive other than revenge which makes him an antihero.

Antihero Examples from Game of Thrones

Game of Thrones , based on the A Song of Ice and Fire series by George R.R. Martin, is known for its morally complex characters, many of whom can be considered antiheroes (even thought they are not main characters): Here are some examples:

Jaime Lannister : Jaime starts as a seemingly irredeemable villain but over the series becomes a sympathetic figure, struggling with his past actions and the expectations placed upon him due to his family name.
Tyrion Lannister : Tyrion's intelligence and wit, combined with his cynicism and propensity for morally questionable actions for survival, make him a compelling antihero.
Sandor “The Hound” Clegane : Initially appearing as a ruthless killer, the Hound evolves throughout the series, showing a softer side and becoming a protector, especially towards Arya Stark and Sansa Stark.
Arya Stark : Arya's transformation from a young, innocent girl into a ruthless assassin seeking revenge, while remaining loyal to her family, qualifies her as an antiheroine.
Daenerys Targaryen : Despite her initial portrayal as a compassionate ruler, Daenerys's relentless quest for power and her eventual destructive actions in Westeros mark her as a tragic antiheroine.
Jon Snow : While generally seen as a hero, Jon's moral ambiguity, particularly when he is with the Wildlings and his decision concerning Daenerys in the finale, reflects antiheroic qualities.
Theon Greyjoy : Theon's story arc, from an arrogant ward of the Starks to a traitor and then a broken man seeking redemption, makes him a complex antihero.
Bronn : Bronn, a skilled sellsword with a witty sense of humor and a tendency to align with whoever can offer him the most, is a classic antihero.
Melisandre : The Red Priestess's use of dark magic for what she believes is the greater good, including the resurrection of Jon Snow, marks her as a complex antiheroine.

Remember, the classification of a character as an antihero can be subjective, and viewers might have different interpretations based on their perspectives and sympathies.

Shakespeare Antihero Examples

William Shakespeare created complex characters throughout his plays, many of whom can be considered antiheroes due to their moral ambiguity, conflicted nature, and often tragic outcomes. Here are some examples:

Macbeth in Macbeth : Macbeth starts as a heroic figure but his ambition and susceptibility to manipulation lead him down a dark path of murder and tyranny, making him a classic antihero.
Hamlet in Hamlet : Hamlet's indecision, melancholy, and contemplation of murder and suicide make him a quintessential antihero.
Richard III in Richard III : Richard's charm, wit, and intelligence, paired with his ruthlessness and manipulation, make him an antihero of his own story.
Othello in Othello : Othello, driven by jealousy and manipulated by Iago, commits horrifying acts that make him a tragic antihero.
King Lear in King Lear : Lear's pride and folly lead to his downfall and the destruction of his kingdom, transforming him into a tragic antihero.
Antony in Antony and Cleopatra : Antony's inner conflict between his Roman duties and Egyptian desires, along with his eventual downfall, characterize him as a tragic antihero.
Brutus in Julius Caesar : Despite his honorable intentions, Brutus's involvement in Caesar's murder and subsequent war make him a tragic antihero.
Prospero in The Tempest : Though the rightful Duke of Milan, Prospero's use of magic for manipulation and control illustrates his status as an antihero.

Historical Antihero Examples

While the term “antihero” didn't come into popular use until the 18th century, the concept has been around for much longer. The literature prior to Shakespeare also includes characters who exhibit antiheroic qualities, challenging traditional heroic ideals. Here are some examples:

The Wife of Bath in The Canterbury Tales by Geoffrey Chaucer : The Wife of Bath is one of the earliest examples of a female antihero, a complex character who challenges the patriarchal society of her time with her wit, sexual freedom, and unorthodox views on marriage and religion.
Medea in Medea by Euripides : Medea, who takes revenge on her unfaithful husband by killing their children, is an early and very complex example of an antiheroine.
Oedipus in Oedipus Rex by Sophocles : While initially portrayed as a hero, Oedipus’s discovery of his own horrific deeds (inadvertently killing his father and marrying his mother) results in his downfall, marking him as a tragic antihero.
Achilles in Iliad by Homer : Despite being a hero, Achilles' rage, petulance, and desire for personal glory over the good of his comrades at certain points in the story provide an antiheroic contrast to the traditional hero.
Odysseus in Odyssey by Homer : While largely considered a hero, Odysseus also displays antiheroic qualities including deception, infidelity, and a ruthless pursuit of his own goals, regardless of the cost to others.
Faust in Faust by Johann Wolfgang von Goethe : Faust's ambitious pursuit of knowledge and pleasure, leading him to bargain with the devil, paints him as a classic antihero, even though this work is slightly later than Shakespeare.

Remember, the term “antihero” is a fairly modern label. However, it can be retrospectively applied to many characters from ancient works who display the common traits of an antihero.

Antihero Examples from the Bible

Several characters in the Bible show characteristics of antiheroes. They are often deeply flawed, commit morally ambiguous or reprehensible acts, yet have moments of redemption or evoke empathy. Here are some examples:

King David in the Books of Samuel : Despite being a beloved king and the ancestor of the Messiah, David is an adulterer and a murderer who abuses his power, which paints him as an antihero.
Samson in the Book of Judges : Samson repeatedly disobeys God's commands, acts out of revenge, and is led astray by his passions, but he ultimately brings about a great victory for Israel, making him a classic antihero.
Jacob in the Book of Genesis : Jacob deceives his brother Esau and his father Isaac to secure his older brother's birthright, showing his antiheroic side. Yet, he also wrestles with an angel and earns the name Israel, balancing his character.
Moses in the Book of Exodus : While generally seen as a hero and a prophet, Moses also kills an Egyptian out of anger and is barred from entering the Promised Land due to disobedience, showing his antiheroic flaws.
Jonah in the Book of Jonah : Jonah initially runs away from his divine calling, and even after fulfilling it, he complains about God's mercy toward Nineveh, making him a complex and reluctant antihero.
Saul/Paul in the New Testament : Before his conversion on the road to Damascus, Saul is a persecutor of early Christians. His radical transformation and later dedication to spreading Christianity demonstrate his journey from a villainous character to an antihero.

As you can see, antiheroes dominate so many of the stories around us. Their selfishness and moral ambiguity are often outlets for us as readers and audience members—we wish we could set aside the values and community ideals that so often motivate our actions. I hope this comprehensive list of antihero examples can inspire your own antihero story.

Whois your favorite antihero? Share in the comments .

Pick one of these types of anti-heroes and write for fifteen minutes , introducing your reader to the character. Give a sense of your anti-hero's motivation. Post your practice in the Pro Practice Workshop here and leave notes for your fellow writers.

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15 Comments

Umm…was there any stories done where the Anti-Hero falls for the heroine of a romance/action novel or any type of entertainment?

Spike in Buffy the Vampire Slayer. Majorly.

Also Killian Jones in ABC’s Once Upon a Time.

I don’t known if he counts, because he’s not really a protagonist but a love interest, but I think I have a character who would be a Classical Anti-hero

I hope this article is not that old to the point that it won’t be replied anymore but I was wondering if this sort of type of character is an “antihero”:

– a soldier, who’s beginning to suffer from his traumatic experiences, become the hero of the story as he was forcefully pushed to save the world, which is currently at war, from an unknown dark force. – a loner stoic student who spent most of the rest of his school days introspecting until he got caught up in severe bullying in a school he just transferred in and the bullied lonely students inside it.

I wanted to explore antiheroes and I ended having them one of those Pragmatic Anti-heroes listed above, like, always. Maybe they;re just so similar to my old-self, I don’t know. Any other way for me to put other types of antiheroes in the two settings that I just created?

“Do you honestly believe I care?” She asked the boy with an apathetic tone to her voice as she spoke. “The sole purpose for my involvement was simply for my benefit and boredom to be alleviated. Why should I care about people I don’t know?” The boy stared at her in shock. He couldn’t believe the girl was talking like this. This was the same girl who was adamant about SAVING the world. Yet here she sat, regal in her position and detached. “How can you say that Lousaper?! The people we’ve fought for are DEAD and its YOUR FAULT!” Lousaper chuckled softly with a hand covering her mouth. To her, this situation was rather ironic. The boy, Mara, clearly misunderstood her position in the war. “As previously stated, I do not KNOW these people and therefore do not care. I was bored with waiting ideal for the war to end.” “Imagine,” she continued with a smirk, “there is a great conflict that affects you and you are given three choices. Wait for however many years for something to end. Get involved with the supposed ‘good’ side of the problem. Or get involved with the supposed ‘bad’ side of the problem. Would you not chose the option more beneficial to you and your cause? I know I did.” From that point on, Mara sat in silence. A few moments passed before he could even respond to her. But her stance had yet to change, her voice was still apathetic, but her eyes. Oh, her eyes were filled with mirth as she gazed at Mara. Mara on the other hand was shaking from the varied emotions that fell upon him. On one hand, he was happy that he was alive and that he was able to save what few people he did. On the other hand, he was angered and depressed that thousands of people died by his unknowing hand. You see, Lousaper, over come with boredom, had aided the Kingdom of Ghaul in seizing the Ports of Cain, which belonged to the Kingdom of Huan. She saw no problem in her actions, even explaining why they were sound. “How can there be war if both sides are not somewhat equal in weight.” She had explained that “had she not done that, the war would have been pointless and their side would lose loyalty.” For in doing so, the inhabitants of the Ports of Cain were slaughtered as an example to the masses and the few hundred saved were so filled with gratitude that they not only swore their loyalty to Huan but even joined the military forces. “You are no better that Ghaul’s ruler.” Mara whispered to himself. Lousaper heard this. “No, you are WORSE then him. Far worse and underhanded in your tactics. You have no HONOR.” She simply continued to gaze at him blankly before tilting her head to the side in an innocent manner. “What does honor have to do with this? Also, pot, kettle, have you met?” He gave her a confused look. “You are no better than me. Tell me Mara, how many civilians have met their fate simply to save a larger number of civilians?” “Four hundred.” He answered back, not knowing where she was going. “Those four hundred people died simply to prolong the short life of four thousand. Those four thousand later died for the sake of five hundred. Your so called ‘honor’ and ‘moral’ are severely lacking. Hypocrite.” His head snapped up at her. “What?” “But I saved seven million for the price of four thousand. My logic is sound compared to yours. Those people may not be of your Kingdom, and you claim to want to save people. Yet you would have allowed millions of people to die. If anything, YOU are the one who makes King Ghaul’ Raa look like a saint.” She sat back with a kind smile on her lips. “Now, onto more important matters. Where is my pay for my services?” “WHAT!?” “My pay? The fifty hundred-million dollars I was offered for my assistance? Your Kingdom offered me the most pay for my services.”

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Last updated on Feb 11, 2022

Anti-Heroes, Defined: How to Write Them, Plus 5 Examples

Answer: An anti-hero is a type of character in literature who lacks the qualities of a traditional hero, like morality or a clear interest in rules. Anti-heroes are not the villains of the story because there are reasons to cheer for them, despite their complex motivations and questionable actions. Two examples from TV series are Tony Soprano and Walter White.

There’s something comforting about a protagonist who always does the right thing for the right reasons, like Superman. But there’s something compelling about a morally ambivalent protagonist who sometimes does the right thing, and only sometimes for the right reasons — like Tyrion Lannister from Game of Thrones .

Let’s dig a little deeper into exactly what an anti-hero is, and why they’ve become so prevalent in stories.

How is an anti-hero different from an anti-villain?

While the two types of characters can be easily confused, the difference boils down to this:

The anti-hero (or AH) does the right thing, but maybe not for the right reasons — and they lack a lot of the characteristics we’ve come to expect of traditional heroes.

The anti-villain (or AV) does the wrong thing, but their motives are often noble — or, at least, sympathetic. Anti-villains typically have some characteristics we don’t commonly associate with “bad guys.”

At the end of the day, if you’re not quite sure whether a character is an anti-hero or an anti-villain, ask yourself this: who does the story ask readers to root for? If that character is morally grey, they’re likely the anti-hero . The morally grey character who opposes them is probably the anti-villain .

Check out our post full of anti-villain examples to learn more.

How is an anti-hero different from a villain-protagonist?

Few books have been successfully written from the perspective of a completely irredeemable, morally reprehensible main character. Readers want to be able to root for the protagonist at least a little bit. Exceptions include Humbert Humbert from Lolita , Patrick Bateman from American Psycho , and Tom Ripley from The Talented Mr. Ripley . By the end of these books, you’re likely waiting on tenterhooks for the protagonist to be brought to justice.

These characters are classified as “Villain Protagonists.” They’re different from antiheroes because the author purposefully avoids giving readers a reason to cheer for them. Antiheroes are morally grey characters we’re still encouraged to root for. But a villain protagonist is a “bad guy”— who happens to be the main character in the story.

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5 Types of Anti-Heroes

Not all antiheroes are created equally. In fact, there's a sliding scale of these morally ambiguous protagonists. Unsurprisingly, the first type is…

1. The Classic Anti-Hero

Typical qualities of a fictional hero include confidence, bravery, stoicism, intelligence, handsome looks, and superb fighting capabilities. The Classic Anti-Hero is the inverse of these things: self-doubting, fearful, anxious, and lacking in combat skills. In general, the character arc of this AH follows them overcoming their “weaknesses” to vanquish the enemy.

This type of AH is not necessarily on the greyscale of morality, they simply defy readers’ preconceived notions of heroism.

EXAMPLE: Bilbo Baggins from The Hobbit

“Anti” — Bilbo is almost fifty years old, hates adventures, loves his hole in the ground full of creature comfort; he’s really just an “average Joe.” When he is offered the job of “burglar” by a party of dwarves on a mission to reclaim their stolen treasure from the dragon Smaug, he politely declines, thinking they couldn’t have approached a more ill-suited person.

“Hero” — We all know how this infamous hero’s journey turns out. Bilbo joins the dwarves and, while he gets off to a bumpy start (he forgets his HANDKERCHIEF!), the arduous journey allows him to discover his inner courage. From taking down trolls to stealing precious stones from dragons, the hobbit leaves the story more self-assured than he entered it.

2. The Knight in Sour Armor

In terms of morality, this hero is pretty good. They know right from wrong, but are typically very cynical and don’t feel that they can make a difference in the grand scheme of things. Otherwise known as a “reluctant hero,” they don’t feel any urgency to join the fight against the villain and are really more concerned with doing their own thing.

The Knight in Sour Armor will eventually join the fight, but only when they feel they personally have something at stake in the outcome.

EXAMPLE: Han Solo in A New Hope

“Anti” — At the start of the Star Wars franchise, Han is a mercenary primarily motivated by personal wealth. He only agrees to help free the captive Princess Leia because Luke Skywalker promises him a huge reward. Thinking the Rebel Alliance is doomed, Han refuses to stay and help in the fight against the Death Star.

“Hero” — After leaving, Han has a change of heart and returns during the climactic Battle of Yavin, just in time to make Darth Vader say “could you not ?” His return ultimately allows Luke to safely destroy the Death Star.

3. The Pragmatic Anti-Hero

Now we’re starting to wade a little deeper into the grey area. In a nutshell, the Pragmatic Anti-Hero is a slightly darker version of the Knight in Sour Armor. They’re both self-centered to a degree and reluctant to accept the role of hero. But while the Knight in Sour Armor is typically slow to step into battle, the Pragmatic Anti-Hero is more ready to spring into action if they observe wrongdoings. The key difference is that the Pragmatic AH is also willing to do some not-so-good things in order to achieve their goals.

EXAMPLE: Edmund Pevensie from The Chronicles of Narnia

“Anti” — Each of the Pevensie children receives a name in Narnia, and Edmund’s is “Edmund the Just.” This is fitting, as Edmund is extremely pragmatic and believes people get what they deserve. In this way, he can be unsympathetic and unwilling to show mercy. For instance, when his older brother “Peter the Great” battles the antagonist Miraz, Peter aims to disarm Miraz but not to harm him. Edmund, on the other hand, encourages Peter to kill Miraz and be done with it. Edmund also displays a need to prove himself and to come out from under his brother’s shadow — qualities that stray from a traditional hero.

“Hero” — Edmund behaves selfishly and even betrays his siblings. But, he is young and still maturing. When push comes to shove and he realizes his siblings are under threat, he ultimately steps up to the plate and helps defeat the White Witch — and commits further heroic acts throughout the series.

4. The Unscrupulous Anti-Hero

Intentions and motives are still good here, but we’ve waded into some seriously murky waters in terms of actions. The Unscrupulous AH is extremely cynical, and their drive to do good is often skewed by past traumas and a thirst for vengeance. They generally take down a despicable villain — someone who “had it coming.” But, instead of bringing this person to justice with as little blood on their hands as possible, the Unscrupulous AH can become vicious, sometimes even enjoying the acts of violence they’ve deemed “necessary.”

EXAMPLE: Conan the Barbarian

“Anti” — Conan has no qualms about resorting to violence or petty crime: theft, assassination, mercenary work, piracy — it’s all in a day’s work. A fun day’s work, that is.

“Hero” — Conan often partakes in the above activities in his quest for power, riches, or just survival. However, his questionable deeds often lead to him achieving a number of heroic feats. If he feels someone has been treated poorly (especially if societal conventions as unfairly weighted against them), he will seek out justice without question or pay.

5. The Hero in Name Only

While this AH fights on the good side, their motives and values are definitely not good. They might be amoral or downright sinister, only redeemable by the fact that they’re not as bad as the villain. Just like the “Villain in Name Only” could be classified as the hero if only the story in question was told from their point of view, the Hero in Name Only could be considered the villain if the story was not told from their point of view.

EXAMPLE: Walter White from Breaking Bad

“Anti” — For most of the series, the terminally ill Walter tells himself that his criminal activity is only to provide for his family. While this may be true at the start, the bigger motivation behind Walter’s decidedly wrongdoings is his need to rebel against his own mortality. With death looming, his moral boundaries shatter as the lines increasingly blur between “Walter” and “Heisenberg” — his secret, meth-dealing identity. He murders people, chokes a child, and simply watches as his business partner’s girlfriend chokes to death. If Breaking Bad had been told from the viewpoint of Hank or Skylar, you could certainly see Walter as the antagonist of the series.

“Hero” — While viewers watch Walter’s moral compass go totally off course, he does start off the show as a good person: a kindly, if unfulfilled, father. His path towards anti-heroism starts with the introduction of his first nemesis: cancer. Cancer is the antagonist of Walter’s life — and viewers can certainly sympathize with him as he goes to great lengths to fend off his disease. Walter goes on to fight a number of other evil antagonists, such as the kingpin Gus Fring.

The above five types of characters present the sliding scale of the anti-hero, and the chances that the anti-hero will reform into a regular, morally good hero diminish significantly as you go up the scale

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Anti-Hero Examples

We’ll wrap up this post with a couple more examples of questionably scrupulous protagonists.

Example #1: Annalise Keating from How to Get Away with Murder

"Speak of the devil and she shall appear."

“Anti” — Annalise Keating is a law professor at a prestigious Philadelphia university who drips seductiveness and arrogance, with just the right amount of like-ability thrown in. These attributes make her similar to fellow anti-hero Don Draper. Annalise has no problem manipulating others to get her way and commits cruel, self-serving deeds without a second thought.

“Hero” — Annalise is the type of morally grey main character that many viewers love to watch, but sometimes struggle to like. While she does a lot of things viewers fundamentally oppose, she has also lived through a number of traumas that inform her crooked actions (hello, Unscrupulous Anti-Hero!). Ultimately, she fights on behalf of the innocent and bounces around the top 4 positions of the anti-heroes sliding scale.

Example #2: Sherlock Holmes

"Heroes don't exist and if they did I wouldn't be one of them."

“Anti” — Sherlock is a genius — or “high-functioning sociopath,” as he’s presented in the BBC modernization — and he gets bored easily. Solving crimes gives him something to do with his superior intellect. While Holmes might appreciate the fact that his work allows justice to be served, he’s largely motivated by the novelty and challenge of cracking cases.

“Hero” — At the end of the day, Sherlock helps fight crime. Whether or not he’s doing it for selfless reasons, he has still dedicated his life to stopping criminals, and he does this using noble means. Different depictions of Sherlock also portray his sympathetic side to varying degrees — some allowing audiences to glimpse emotional connections between Sherlock and the crime he solves.

Example #3: Michael Scott from The Office

"No, I'm not going to tell them about the downsizing. If a patient has cancer, you don't tell them.

“Anti” — Michael makes the lives of his employees at Dunder-Mifflin paper company very hard sometimes. He’s constantly distracting them with his need for attention and validation, and he ends up making some very questionable decisions that can harm others in his need to come across as a hero — you could even classify his need to be liked as a tragic hero's fatal flaw . Oh, and let’s not forget about the way he treats poor Toby.

“Hero” — While Michael can be incredibly selfish, unaware of how his decisions negatively affect his coworkers, and downright rude, he has a good heart and loves (most of) the people who work for him. In the face of major downsizing, he fights for his branch and the job security of the people who work there. Michael has shining moments of kindness (such as the bird funeral), and viewers root for him — and pray for his continuing self-improvement.

Example #4: Veronica Sawyer from Heathers

"Heather, my love, there's a new sheriff in town."

“Anti” — While the rebellious new kid, J.D., might be the person who starts Veronica down the path of killing her classmates, she doth not protest enough to avoid eventually pulling the trigger herself.

“Hero” — While Veronica does murder a student, she’s portrayed for the most part as an impressionable and bullied teenage girl who gets carried along by the sinister doings of J.D. Still, for much of the movie, she can definitely be considered a Hero in Name Only, as she’s absolutely complicit in the homicides. At the end, we see a glimmer of humanity when Veronica stops J.D. from bombing his school and reunites with her social outcast friend, Martha.

Example #5: Tony Soprano from The Sopranos

“A wrong decision is better than indecision.”

“Anti” — A number of things put the “anti” in Tony’s label as “anti-hero”: murderer, thief, con artist, extortionist, to name a few. He is the capo di tutti capi (the “boss of all bosses”) in the crime world.

“Hero” — Apart from being the protagonist of the TV series, things like his unshakeable love for his family, his kindness to his friends, and the occasional pang of guilt or moment of vulnerability let viewers glimpse Tony’s human side. What solidifies his status as an anti-hero, however, is the fact that his enemies are portrayed as being far more evil and sinister than he is.

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Olivia Pope from Scandal , V from V for Vendetta , Deadpool, Dexter, Nancy Botwin from Weeds , Arthur Dent from The Hitchhiker's Guide to the Galaxy , Selina Meyer from Veep — once you know what an anti-hero is, there is no shortage of opportunities to spot them.

If you’re looking to write your own controvertible protagonist, check out the following in-depth blog posts aimed at helping authors develop compelling characters.

Character Development: How to Write Characters Your Readers Won't Forget 9 Common Types of Fantasy Characters (With Examples) How to Write a Compelling Character Arc 12 Character Archetypes Every Writer Should Know How to Create a Character Profile: the Ultimate Guide (with Template)

Did we miss any antiheroes who deserve a mention? Drop their name — or any other thoughts or questions — in the comments below!

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Anti-Hero: Definition, Examples, and How to Create One

learn how to write an anti-hero in your stories

In the vast storytelling landscape, characters come in various shades of morality and complexity. Among them, the anti-hero is a compelling archetype that challenges traditional notions of heroism and virtue.

In this blog post, we’ll explore what defines an anti-hero, common anti-hero characteristics, analyze examples, and discuss how to effectively write anti-heroes in your stories.

What is an Anti-Hero?

At its core, an anti-hero is a protagonist who lacks conventional heroic qualities such as altruism, bravery, and moral righteousness. Unlike traditional heroes who embody ideals of virtue and selflessness, anti-heroes exhibit traits such as moral ambiguity, cynicism, and flawed personalities . They may engage in morally questionable actions or possess characteristics that challenge societal norms.

Despite their flaws, anti-heroes often find themselves in situations where they must confront their own demons and make choices that blur the lines between right and wrong.

Anti-Hero Characteristics

Anti-heroes are characterized by their complexity and multidimensionality. They possess a blend of both positive and negative traits, making them morally ambiguous and psychologically intriguing. Some common characteristics of anti-heroes include:

Flaws: Unlike traditional heroes portrayed as morally flawless, with a clear compass on what’s right and wrong, anti-heroes are defined by their imperfections. These flaws can range from arrogance and selfishness to cynicism and moral ambiguity.
Compelling Backstories: Anti-heroes often have troubled pasts or traumatic experiences that shape their worldview and motivations. These backstories add depth to their character and provide context for their behavior or actions.
Moral Ambiguity: One of the defining features of anti-heroes is their ambiguous morality. They may engage in morally questionable behavior or pursue goals that conflict with societal norms, yet they often possess a sense justice that influences their actions.
Redemption Arcs: Despite their flaws, anti-heroes may undergo redemption arcs where they strive to overcome their past mistakes and seek redemption for their actions. This journey of self-discovery and growth adds depth to their character and resonates with audiences. At times, anti-heros are rewarded for this as a story ends.

Related: Learn more about character development strategies here.

Anti-Hero vs. Anti-Villain

While anti-heroes and anti-villains may share some similarities, they are fundamentally different character archetypes. As previously discussed, anti-heroes are protagonists who lack traditional heroic qualities but ultimately strive to do what they perceive as right, even if their methods are unconventional or morally questionable. In contrast, anti-villains are antagonists who may possess noble intentions or sympathetic motives but ultimately oppose the protagonist and act as obstacles to their goals.

The critical distinction between anti-heroes and anti-villains lies in their roles within the narrative . Anti-heroes are the central focus of the story, and their actions drive the plot forward, whereas anti-villains serve as foils to the protagonist and often exist to challenge their beliefs and motivations.

5 Examples of Anti-Heroes in Stories

Anti-heroes have become prominent figures in literature and media, captivating audiences with their complex personas and unconventional actions. Here are five notable examples:

1. Walter White from “Breaking Bad”

Initially a mild-mannered high school chemistry teacher, Walter White transforms into a ruthless drug lord to secure his family’s financial future after a terminal cancer diagnosis. His descent into darkness blurs the lines between heroism and villainy, making him a compelling anti-hero.

2. Dexter Morgan from “Dexter”

Dexter, a blood spatter analyst for the Miami Metro Police Department, leads a double life as a vigilante serial killer targeting other murderers. Despite his gruesome actions, Dexter adheres to a strict moral code, killing only those who deserve it, showcasing the complexity of his character as an anti-hero.

Our Editor’s Take

I binged Dexter during my undergraduate years. The show is morally complicated. One moment, you can see the darkness in Dexter’s eyes, while you’re rooting for him to hunt down the bad guy in the next. It isn’t until the later seasons that you get a peek into his earliest years and understand his anti-hero “origin story.” – R. R. Noall

3. Severus Snape from the Harry Potter series

Snape’s character is shrouded in ambiguity, initially portrayed as antagonistic towards Harry Potter and his friends. However, his true allegiance and motivations are revealed later in the series, showcasing his depth and complexity as an anti-hero who ultimately sacrifices himself for the greater good.

4. Rorschach from “Watchmen”

Rorschach is a masked vigilante known for his uncompromising pursuit of justice in a morally ambiguous world. His rigid black-and-white worldview and willingness to use extreme violence make him a controversial figure, challenging traditional notions of heroism.

5. Lisbeth Salander from “The Girl with the Dragon Tattoo”

Lisbeth is a troubled and enigmatic hacker who takes justice into her own hands, often resorting to violence against those who wrong her or others. Despite her abrasive demeanor, her traumatic past and fierce determination to seek retribution against abusers make her a compelling anti-heroine.

How to Write an Anti-Hero

Creating a compelling anti-hero requires careful consideration of various elements to ensure depth and relatability:

Establishing depth through backstory and motivations: Develop a rich backstory that explores the anti-hero’s past traumas, motivations, and inner conflicts, providing insight into their actions and worldview.
Balancing sympathetic traits with morally questionable actions: Give the anti-hero redeeming qualities or noble intentions that make them relatable to readers, even as they engage in ethically dubious or controversial behavior.
Crafting compelling character arcs and development: Map out a character arc that allows the anti-hero to evolve and grow throughout the story, facing challenges that force them to confront their flaws and make difficult choices.
Techniques for creating reader empathy and engagement: Use narrative elements such as internal monologue, flashbacks, and intimate POV to immerse readers in the anti-hero’s psyche, fostering compassion and emotional connection despite their flaws. Additionally, they present their actions within a moral gray area, encouraging readers to question conventional notions of heroism and villainy.

Anti-Hero FAQs

What makes an anti-hero likable?

Anti-heroes are often relatable due to their flaws and struggles, which make them more human and empathetic. Additionally, their willingness to challenge authority or societal norms can appeal to audiences seeking characters who embody rebellion or individualism.

Is Deadpool an anti-hero?

Yes, Deadpool is a classic example of an anti-hero. While he possesses heroic qualities and fights against villains, his methods are often unorthodox, and he exhibits morally ambiguous behavior, making him a complex and unconventional protagonist.

Is Batman an anti-hero?

While Batman shares some characteristics with anti-heroes, such as a willingness to operate outside the law and a dark, brooding persona, he ultimately upholds a strong moral code and fights for justice, making him more aligned with the traditional hero archetype. However, interpretations may vary depending on the storyline and depiction.

In summary, anti-heroes challenge conventional notions of heroism, offering complex and morally ambiguous characters that captivate audiences. We witness the intricacies of flawed individuals navigating moral gray areas – trying to create these characters in your own writing should be a fun exercise as your grow as a writer. Embracing anti-heroes in storytelling opens doors to exploring the human condition in all its complexities, leaving a lasting impact on audiences.

Want to share your anti-hero with us? Explore our submission opportunities.

Anti-Heroes: Creating and Critiquing Them

We lost faith in authority in the ’50s, up to a point, and we spawned a lot of anti-heroes in movies, which were refreshing and open. But at this point, with the distrust that’s there and the disillusionment with leadership that is so acute, we need some kind of a focus on taking the irony out and taking the anti-hero element away. Brendan Gleeson

Introduction to Anti-Heroes

Table of Contents

An anti-hero is a literary archetype characterized by a protagonist who deviates from traditional heroic qualities, often displaying moral ambiguity, flaws, and unconventional behavior. These characters challenge conventional notions of heroism and morality, adding complexity and depth to narratives. Despite their imperfections, anti-heroes often elicit empathy from audiences, inviting contemplation of deeper moral and societal themes.

Literary Examples of Anti-Heroes

How to create anti-heroes.

Establish Flaws and Imperfections: Give your characters noticeable flaws, such as moral ambiguity, vices, or personal weaknesses. These must set them apart from traditional heroic figures.
Develop a Complex Motivation: Provide your anti-heroes with a unique and relatable motivation for their actions, one that may not align with conventional heroism. This motivation should drive their decisions and behaviors throughout the story.
Challenge Moral Norms: Have your anti-heroes navigate morally gray areas or make morally questionable choices. Their actions should provoke thought and question traditional notions of right and wrong.
Create a Relatable Backstory: Develop a backstory that explains the origins of your anti-heroes’s flaws and motivations. This backstory should help the audience understand and sympathize with their character.
Balance Complexity with Empathy: While your anti-heroes should be multi-dimensional and flawed, ensure there are moments or qualities that allow the audience to connect with and empathize with them despite their imperfections. This balance adds depth and relatability to the character.

Advantages of Using Anti-Heroes

Complexity and Realism: Anti-heroes add depth and authenticity to characters by showcasing their flaws and moral ambiguity.
Audience Engagement: These characters often elicit empathy and curiosity from audiences, keeping them invested in the story.
Moral Exploration: Anti-heroes prompt discussions and contemplation of deep ethical and societal themes.
Character Development: The journey of an anti-heroes navigating their imperfections can be a central and compelling aspect of the narrative.
Subversion of Tropes: Anti-heroes challenge conventional heroism, providing opportunities to subvert storytelling norms and expectations.

Anti-Hero and Literary Theory

You may read more on Literary Devices below:

Aside: A Literary Device
Asides: Creating and Critiquing
Tautology: A Literary Device
Tautologies: Creating and Critiquing Them

Fahrenheit 451 Anti-Hero Essay Example

People have the ability to do heroic actions. But some people achieve those actions through iniquitous means such as breaking the law to help people and hurting people to help society. The actions of these people have the potential to do good but it is more in their self-interest. In the novel Fahrenheit 451, Ray Bradbury defines how Montag is an anti-hero through his controversial actions. Montag fits the anti-hero archetype since he possesses heroic qualities such as courage and the ability to realize his controversial actions; he does not hesitate to burn down the homes of people who own books and is willing to change his life to reach his goals without considering the law. Ray Bradbury’s main character, Guy Montag, portrays his often applied title of an anti-hero as he tries to change society by uncovering the mysteries of his world and books.

As a character who depicts the anti-hero archetype, Montag possesses qualities such as audacity and the power to realize his actions, which helps him right wrongs. His power to realize his actions allows him to identify what his artificial society, who controls people through the media and censorship, truly is. Bradbury portrays Montag as a character who is neither a villain nor a hero, but as someone that has the potential to become a hero. When Montag speaks to Mildred about his life as a fireman, he says, “Last night I thought about all the kerosene I've used in the past ten years. And I thought about books. And for the first time I realized that a man was behind each one of the books. A man had to think them up”(Bradbury 49). Montag’s realization makes him question his job as a fireman. As a result, this sparks the beginning of his journey to reveal society’s secrets and save books. After the burning of the unnamed woman and her house, he ponders why she would light herself on fire just to save her books. Thus, Montag begins to see something in books as the reason. His realization gives him the courage to go against society and question his job so he can escape the horrors of his world. Montag reflects upon his actions over “the past ten years” and begins to question social policies against books. Furthermore, this fuels his curiosity because he appreciates that “a man was behind each one of the books” and the effort it took to write them. This realization gives Montag the courage to question his job, defy society, and make amends.

Another quality of Montag’s anti-hero archetype is that as a fireman in the beginning of the novel, he does not hesitate to harm people who were in possession of books and their homes at times, considering the fact that he does not question his life as a fireman. He does not hesitate to burn down homes in the ownership of books because he respects his job as a fireman. In addition, his ancestors such as his grandpa were all firemen which makes him the next one in line to follow that duty; he does not acknowledge that his actions were somewhat immoral. After burning a house, he saw “the books went up in sparkling whirls and blew away on a wind turned dark with burning. Montag grinned the fierce grin of all men singed and driven back by flame” (Bradbury 2). Montag was not hesitant nor afraid to burn down the house of one book owner in this scene, further supporting that he is an anti-hero because Montag feels that eradicating books in society is something that must be done as a fireman. He believes that he is helping society become better as he contributes by burning books. However, Montag is over-punishing the book owners since he could search the houses for every single book instead of burning the entire house down. Montag “grinned the fierce grin” because he sees pleasure in burning books as a fireman.

Moreover, he is “driven back” by the burning of books since it allows society to change. As a fireman, Montag burns the homes of people and sometimes harms them if necessary in order to achieve what he deems as heroic through nefarious means.

As an anti-hero, Montag is willing to change his life to reach his goals such as doing what he thinks is ethical without regard for the law. Ray Bradbury describes Montag throughout the whole as a man whose life is changed as he tries to save books and learn more about them. Likewise, his growing suspicion of society is what allows him to change from a fireman to a person trying to escape society. After escaping from the police, “The Hound was gone. Now there was only the cold river and Montag floating in a sudden peacefulness, away from the city and the lights and the chase, away from everything” (Bradbury 133). Montag feels a sense of relief as he escapes his society. This scene marks an evolution in Montag’s character development as his life is about to change. In addition, an anti-hero, a character defined by his or her controversial actions, tries to be heroic often through immoral efforts. Montag is an anti-hero because his goal is to answer his curiosity about books and save them, but he had to become a criminal in order to do so. In the same way, Guy Montag’s character development is relatable to that of Charles Darnay’s. In A Tale of Two Cities, by Charles Dickens, Charles Darnay denounces his Evremonde family name when he realizes the cruel actions committed by his family. Comparatively, Darnay and Montag are able to see the horrors of society which allow them to grow even if it is through evil means. Montag feels he is “away from everything” as he escapes society and stops being chased by the authorities for his self-interest of finding the truth. As a result, he realizes his life is about to change as he is “floating in a sudden peacefulness” after being an outlaw. Guy Montag further portrays the character archetype of an anti-hero as he discovers more about himself and tries to reach his goals through breaking the law, even if it means he must leave everything behind.

Bradbury uses Montag’s controversial actions and his heroic qualities to demonstrate how he is an anti-hero. Montag realizes the actions he has done over the past ten years as a fireman which allows him to right his wrongs. He burns down the homes of people who possess books to save society even if it is wrong. Finally, to find the truth and to discover himself, Montag tries to do what he deems is right through criminal means. After all, an anti-hero’s journey is about discovering the truth and redemption; they can not do everything right on the path yet they try to be heroic although it is through being immoral, but they accept the darkest part of themselves in order to do so. Their journey helps them develop their character and reveals their past, but in reality, anti-heroes are just ambitious protagonists.

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Anti-Hero Characters: Writing the Unheroic Protagonist

Sean Glatch | August 30, 2022 | One Comment

Want to learn more about how to write an anti-hero ? Consider taking our private class with Gloria Kempton.

The anti-hero (or antihero) archetype is a popular feature of modern books and movies, and for good reason. Anti-hero characters are often lonely or isolated individuals, who experience ethical dilemmas typical of modern day society. As both a relatable trope and a poignant space for social commentary, anti-heroes and anti-heroines have become some of the most beloved protagonists from works of recent decades.

The anti-hero inverts traits typical of heroic figures—hence the “anti.” While a conventional hero exhibits bravery, charisma, strength, and a strong sense of justice, the anti-hero will more closely resemble everyday human beings. They might struggle with ethical dilemmas, have selfish intentions, act indecisively, or even reject their hero’s journey altogether.

That said, anti-hero characters are crafted with specific intent. So, what is the anti-hero? This article uncovers the psychologies of these characters. We’ll look at different anti-hero examples across the literary canon, ending with advice on how to write an anti-hero yourself.

From Don Quixote to Walter White, let’s examine the anti-hero archetype.

Anti-hero Definition: What is the Anti-hero?

The succinct anti-hero definition is any protagonist who doesn’t exhibit heroic traits. The hero is one of the oldest character archetypes in the history of literature, displaying courage, virtue, wisdom, and other admirable traits necessary in the face of evil. The anti-hero rejects these traits, but must still confront the challenges presented in the story, complicating the narrative.

Anti-hero Definition: A protagonist who rejects the traits of conventional heroes, but must still confront the challenges presented in the story.

Let’s compare and contrast two archetypal characters. Achilles is certainly the hero of Homer’s Iliad , and his role in the Trojan War exhibits a strong sense of justice and an uncanny bravery. He leads the Greeks to victory against the Trojans by killing their leader, Hector, and he honors the men who died in his army with elaborate funerals.

Is Achilles perfect? Certainly not. He is often described as wrathful or vindictive, and his myth gives us the phrase “Achilles’ Heel”—a fatal flaw that defines an otherwise perfect hero, often leading to that hero’s downfall. Nonetheless, Achilles is a character designed to be celebrated, and his courage and virtue are admired by many.

The unnamed narrator in Dostoevsky’s Notes from Underground , on the other hand, exemplifies none of humanity’s virtues. This character is vengeful, lonely, and filled with self-hatred. Despite working as a civil servant for decades, he has no regard for others, and instead operates under the philosophy of “rational egoism”—the idea that our own self-interest is the most rational lens through which to make decisions.

The Underground Man, as critics often dub this narrator, seems in conflict with all of society. Much of the novella is constructed through musings and memories. The narrator spends much of his time berating others for their own self-interest, yet he himself embodies rational egoism. He is spiteful, vengeful, frequently criticizes others, and he acknowledges that he himself is lazy, uninspired, and hypocritical.

What is the purpose of such an unlikeable anti-hero? Dostoevsky’s characters often embody certain philosophical dilemmas that the author sought to explore, taking those philosophies to their logical extremes and putting them in conversation with different ideas. Dostoevsky himself rejected rational egoism, worrying about a society constructed through self-interest. Nonetheless, his anti-hero rejects society altogether, which doesn’t result in a fulfilling life, but a life lived in reaction to other people’s faults.

The point: an anti-hero might reflect the worst impulses of society and human behavior. But, the reader also learns a surprising amount about themselves and others through reflecting on the behaviors of protagonists that reject conventional morality.

Anti-hero Vs. Villain

At face value, it is easy to conflate the anti-hero with the villain of a story. However, the two occupy different roles in literature.

A villain is better understood as an antagonist . They are the main force of opposition in a story, preventing the protagonist from achieving their goals and desires. An antagonist isn’t always evil and villainous, but a villain always stands in the way of the protagonist.

An anti-hero, by contrast, might have villainous traits. They might even be perceived as a villain by the people around them. But, they are always the protagonist of the story and the main focus of the narrative lens. Even if their goals are less-than-admirable, they cannot be the villain, simply because the story is centered around their conflicts.

Anti-hero Vs Villain: An anti-hero is a protagonist with questionable morals. A villain is an evil antagonist designed to complicate the protagonist’s story.

Common Traits of the Anti-hero Archetype

Part of the difficulty in defining an anti-hero is that we must situate this character in the context of their setting . An anti-hero might have traits that were detested 100 years ago, but in the modern day are admired.

For example, a reader in Victorian England would have found disgust in a character who’s cynical, sarcastic, and countercultural. This character would have made a perfect anti-hero in 1850’s London. But, we can imagine this character being much more heroic in 1970’s New York. Context is key in determining whether or not a character is sufficiently anti-heroic.

Nonetheless, a few key traits unite the majority of anti-hero characters. These include:

A defiance of standard morals, ethics, and philosophies.
A lack of remorse for actions that would normally be deemed “bad.”
Pessimism, cynicism, nihilism, or some other negative/unpopular worldview.
An internal struggle: they must often choose between their morals and those of society.
Obvious flaws.
Behaviors that require some form of explanation, as they don’t adhere to conventional modes of being.

It’s important to note: anti-heroes are not necessarily “bad people.” They might even have a strong sense of justice, goodness, and love for humanity. But, because they disagree with the world at large, and because they are often lonely in their own unique views, they are forced to make difficult decisions, or even to do bad things for the greater good. We’ll see what this might look like through different anti-hero examples in literature.

Anti-Heroes Vs. Anti-Heroines

Female anti-heroes, or anti-heroines, are unfortunately few in literature. If anything, they show up more frequently in TV and film than they do in books. In practice, are they any different than their male counterparts?

In short: no. An anti-heroine will also defy standard morals, make questionable decisions, and espouse an unpopular worldview. The only difference is that an anti-heroine is the inversion of a heroine, and female heroes tend to be written differently than male heroes. While heroic traits like bravery, justice, and honor are conventionally “masculine,” the literary heroine tends to embody wisdom, self-possession, intelligence, and the courage of being true to one’s self.

That said, it’s 2022. Gendered distinctions between male and female heroes make little sense. Female heroes can be brave and just, male heroes can be wise and self-possessed, and their anti-heroic counterparts can invert traits across the spectrum of gender expression.

The point: while literature has historically assigned heroic traits differently between male and female protagonists, these distinctions are quickly going out of date. Anti-heroes and Anti-heroines are united in their disdain for conventional morality and society-at-large. This disdain is often a reaction to gender roles, though it doesn’t have to be.

Examples of the literary anti-heroine include: Emma Bovary from Gustav Flaubert’s Madame Bovary , Sula Peace from Toni Morrison’s Sula , and Scarlett O’Hara in Gone With the Wind by Margaret Mitchell.

Anti-hero Examples

The following anti-hero examples all come from published works of literature.

1. Meursault in The Stranger by Albert Camus

You can find the full text of The Stranger here.

Plot summary: Meursault, a Frenchman living in Algeria, learns of the death of his mother. Later, he kills an Arab man who has been in conflict with Meursault’s neighbor. Meursault is arrested and sentenced to death.

Character traits: Meursault is aloof, independently minded, and indifferent to others. He is honest to the point of abrasion, and he is relatively unaffected by the world. Meursault considers most people either interesting, annoying, or simply unimportant.

Embodied philosophy: Meursault embraces nihilism, and embraces it even more as the date of his execution approaches. He believes there is no inherent meaning or morality to the universe, and that it is pointless to participate in the attitudes, behaviors, and morals constructed by society.

If the plot summary seems terse, that’s because it is. The Stranger is a bafflingly unadorned text, but each character and image represents much more than meets the eye.

To use Camus’ own words, Meursault is a character who “refuses to play the game.” In other words, he refuses to subscribe to society’s mores. The problems that this causes often surprises Meursault. For example, his neighbors expressed much disappointment when Meursault put his ailing mother in a nursing home, and at the funeral, some express silent disapproval that he drinks his coffee with milk. (It is custom to drink coffee black at a funeral.) These points don’t particularly affect Meursault, but they don’t engender positive feelings towards him, either, which cements his death sentence later in the novel.

Thus, Meursault is “The Stranger” because he’s thoroughly estranged from the conventions of social morality. He isn’t a psychopath, necessarily, but he lacks interest in the affairs of most people. His only salvation is his wholehearted embrace of nihilism. Meursault finds comfort in the inherent meaninglessness of life, thinking that the indifference of the universe is actually a form of benevolence. He even wonders that he might not be lonely at his execution, so long as he’s observed by a crowd—even a crowd that hates him.

Meursault is not an anti-hero that engenders positive feelings. But his reactions to the world certainly push the reader to question society’s conventions. Why do little things, like black coffee at a funeral, represent whether a person is good or bad? No, we shouldn’t question morality to the point of sealing our own death sentence, but if the universe is as careless as Meursault believes, how can we create and embody our own morality?

The Stranger yields more questions than answers, and none other than Meursault, the perfect anti-hero, can raise such complicated questions.

2. Catherine Earnshaw in Wuthering Heights by Emily Brontë

You can find the full text of Wuthering Heights here.

Plot summary: Wuthering Heights centers around the unrealized relationship between Catherine Earnshaw and Heathcliff (who can also be considered an anti-hero). Their turbulent relationship never succeeds due to the rampant miscommunication, control, and abuse that occurs in the Earnshaw household. She also ends up marrying Edgar Linton (primarily for his class status), despite her love for Heathcliff. These conditions encourage the love-hate relationship between Catherine and Heathcliff before her unfortunate death.

Character traits: Catherine is torn between her nature and the culture she’s brought up in. Naturally, Catherine is passionate and mischievous. She is strong willed and, at times, rather capricious. Above all, her character is defined by intensity and wildness. She chooses to resist these traits in marrying Edgar, attempting to present herself in a more “fashionable” and aristocratic light, but she cannot deny her nature, especially on her deathbed.

Embodied philosophy: Catherine rejects conventional Victorian femininity.

For her time, Catherine Earnshaw was quite a divisive anti-heroine. She challenged the behaviors and expectations of women in Victorian England, who were expected to act with discretion, modesty, temperance, and obedience. Catherine is none of these things, but the pressures of high society are certainly immense, so her struggle between self and culture is not an easy one.

The novel doesn’t make this uncomplicated, either. Catherine’s death is brought about partially by her own wildness. When she is forbidden to see Heathcliff after her marriage to Edgar, she (partially) feigns insanity and starves herself in her room. She does this even before her family knows she is pregnant. She never quite recovers from this episode, and dies shortly after childbirth.

No, Catherine’s death is not self-inflicted; it’s a result of men trying to control her. In a way, her death sets her free from the constraints of Victorian culture, as she chooses to act on her passion and wildness, rather than succumb to a deeply unhappy life. Nonetheless, her story is unsettling even to the modern reader, and it reminds us to uphold the value of freedom in life, love, and beyond. Catherine isn’t always likable, but her rejection of social norms makes her an admirable anti-heroine.

3. Okonkwo in Things Fall Apart by Chinua Achebe

You can find the full text of Things Fall Apart here.

Plot summary: Things Fall Apart is divided in three sections. In the first section, we view the pre-colonial life of an Igbo village through the narrative of Okonkwo, a well respected wrestling champion who values strength, success, and stoicism. Okonkwo’s fortune suddenly reverses when he kills his adopted son, his daughter falls ill, and he accidentally kills the child of the oldest man in the village. The latter half of the novel follows Okonkwo’s reckoning with this exile, and while he’s been away from the village, white men have begun to colonize and proselytize the land that would become modern day Nigeria.

Character traits: Okonkwo embodies masculinity. He is strong, stoic, and heroic. He believes in the value of hard work, discipline, and success. But his masculinity can prove quite toxic. He can be rash, unkind, impatient, controlling, vindictive, pretentious, and uncaring. Okonkwo’s stature and discipline certainly command respect, but his best traits are also his worst ones, and he’s rarely liked.

Embodied philosophy: In addition to embodying conventional masculinity, Okonkwo also embodies the values of tradition and community, particularly in the face of colonization.

Okonkwo is an archetypal anti-hero. He wants to do the right thing, and certainly has a heroic figure, but he also has numerous flaws and blindspots, and his story never resolves his shortcomings.

Specifically, Okonkwo’s rashness, egotism, and desire to control all prove themselves examples of how not to act in a crisis. For example, he had no reason to kill his adopted son, but did so so as not to seem weak. This forces him into a depression, which, of course, he can’t admit to having. He also beats his children repeatedly, which drives one of them to join the white man’s church.

Okonkwo’s rashness and warrior mindset are most on display when he beheads one of the messengers of the District Commissioner, which oversees the colonization of the village. Okonkwo chooses to kill this messenger, believing he can rally the tribe to rise up against the colonizers and preserve the tribe’s traditions. But, no one else steps up to his plate, and he realizes that Umuofia will not show enough resistance. Rather than succumb to change, and rather than be tried in a colonial court, Okonkwo kills himself.

There is, certainly, no easy answer to the questions this novel provokes. What should proper resistance to colonization look like? How should Okonkwo and the tribe have acted? Regardless of what’s “right,” what’s true is that Okonkwo acted courageously and alone in the face of colonization’s evils. While his character might be less-than-likable, it is certainly honorable.

More Books With Antiheroes

Other anti-hero examples from literature include:

Holden Caulfield from The Catcher in the Rye by J. D. Salinger
Bigger Thomas from Native Son by Richard Wright
Huckleberry Finn from The Adventures of Huckleberry Finn by Mark Twain
Prince Hamlet from Hamlet by William Shakespeare
Lisbeth Salander from The Girl with the Dragon Tattoo by Stieg Larsson
Alex from A Clockwork Orange by Anthony Burgess
Patrick Bateman from American Psycho by Bret Easton Ellis
Milkman from Song of Solomon by Toni Morrison
Sam Spade from The Maltese Falcon by Dashiell Hammett

Arguably, the following characters can also be considered anti-heroes: Jay Gatsby from The Great Gatsby by F. Scott Fitzgerald, Quentin Compson from The Sound and the Fury by William Faulkner, and Stephen Daedalus from Ulysses by James Joyce.

How to Write an Anti-hero

There is no singular pedagogy on how to write an anti-hero. Nonetheless, these tips will help you think about how to approach your questionable protagonists. Also be sure to read our article on character development , which gives more advice and insight on crafting compelling characters.

How to Write an Anti-hero: Opt For Nuance

Anti-heroes occupy a moral gray space. They don’t conform to conventional morals, and sometimes they do objectively bad things. But, they most often make decisions and have beliefs that are a little more complicated than that.

For example, Hamlet in Shakespeare’s Hamlet believes he should avenge the death of his father, but he also hesitates to contribute to the violence and political intrigue that killed his father in the first place. He doesn’t have bad morals, but his decisions (and indecision) do lead to the deaths of innocent people.

What should Hamlet have done? What should he have believed in? Characters who occupy a nuanced moral space yield much more intriguing questions and dilemmas.

How to Write an Anti-hero: Align Traits and Conflicts

The conflict that an anti-hero faces should be a proper match for that character’s flaws.

For example, Catherine Earnshaw in Wuthering Heights meets her perfect match: society. Where Catherine is unrestrained and wild, Victorian society tells her to keep quiet, poised, and “lady-like.” Now, Catherine’s wildness isn’t a flaw, but it does create problems in her life, and it’s a contributing factor in her death. She wouldn’t be a countercultural character without it, but she’s also doomed, in a way, as the strict patriarchal nature of Victorian society would never allow a woman like her to remain unfettered.

As such, Catherine sits as one of the most formidable anti-heroines in literature. She may not live, but she certainly lives on.

How to Write an Anti-hero: If Not Relatable, Understandable

It depends on the reader, but sometimes, an anti-hero is immediately relatable. Readers might connect to Holden Caulfield’s disdain for society, Meursault’s questioning of mores, or Madame Bovary’s disdain for provincial life.

That said, no character trait is universally relatable. So, the reader must also, in some way, understand the anti-hero. Often, this is what the story itself sets out to do, as it takes an entire book to fully understand a single character.

While you might not relate to The Grinch’s cynicism, you can certainly understand his disdain for harmful social traditions. While you might not relate to Hannibal Lecter’s, um, cannibalism, you might come to appreciate the way his mind works.

How to Write an Anti-hero: Veer Towards Cultural Criticism

The best anti-hero characters reveal something deeper about society and culture. They force us to ask questions. Why do we act the way we do? Why is society structured the way it is? What can I learn from this person who views society differently than I do?

This applies even for characters who belong to different cultural backgrounds. I am not from a pre-Nigerian tribe, and I have little in common with Okonkwo from Things Fall Apart . I’d actually like to think I’m not, in any way, masculine the way he is. But, his story is a lonely one, as he’s the only person willing to stand up for the traditions that colonization sought to conquer. What are the lengths we must go to preserve tradition from the outside world? Can unmarred traditions live in unity side by side? How can we disentangle tradition from harmful gender roles, especially given the traditional masculinity that drives Okonkwo’s heroism?

Such questions are necessary to ask, especially when the characters we read come from backgrounds we don’t belong to. The anti-hero archetype allows us to better understand these backgrounds, while also encouraging questions about the ways we navigate the world.

How to Write an Anti-hero: Ask Questions Through the Character

Because anti-heroes are vehicles for social and cultural criticism, use them to ask questions and inquire deeper into the way we act.

Meursault does this often in The Stranger . Why is it bad to drink black coffee at a funeral? Why should he have cried at the funeral? Why should he not have sent his mother to a nursing home? Why should he not help his neighbor, just because he is rumored to be a pimp? Why should he feel strongly about getting married?

Some of these questions are more provocative than others. And, the text isn’t necessarily trying to dissuade you of the morals you possess. Meursault is a detached character whose apathy borders on antisocial tendencies, and I wouldn’t like to have coffee with him myself.

But, he encourages us to ask these questions. Why do we act and feel the way that we do? These inquiries might strengthen our moralities or lead us to new ones. In any case, these questions create a richer relationship to the text, and also help us craft a more meaningful place in our societies, as we have engaged with those societies at a deeper level. Such is the art and the beauty of the anti-hero.

Develop Dark Protagonists at Writers.com

Looking for feedback on your anti-hero characters and stories? Take a look at the upcoming fiction classes at Writers.com, where you’ll receive expert feedback on every story and character you write. You might also be interested in this private class with Gloria Kempton that dwells entirely on anti-heroes and anti-heroines.

Sean Glatch

Some examples of antiheroes include Victor Frankenstein, Radion Raskolnikov from “Crime and Punishment”, and Winston Smith from “Nineteen Eighty Four”. Antiheroines include Anna Karenina and Hedda Gabler .

Anti-Hero Archetype

What is an anti-hero archetype.

An anti-hero is a person who is not like a traditional or conventional hero figure. Yet, he is a leading character in the storyline and appears from the beginning to the end. Although it seems that an anti-hero is a person who must be against the hero of the story and that he is a secondary character, it is entirely a false impression. In fact, he/she just lacks some of the conventional qualities of a hero, such as courage , ethical commitment, or idealism. Rather, they have some flaws such as selfishness in certain circumstances, rudeness, or even a little bit of bullying.

Terminology

Anti-Hero terminology comprises two different words “ anti” which means against, and a hero, which is a towering personality having exploits in his/her career to boast about. It seems that the term demonstrates contradictory meanings. It was first used in 1714 in the work Rameau’s Nephew by Denis Diderot in 1761 or 1774. There is no definite date. The book was originally in French. Later, the term was used for Byronic heroes based on the ideals of Lord Byron , a popular English poet.

The term anti-hero as an archetype has undergone various transformations during its long history after it was first used by Diderot in his book. New forms of anti-heroes emerged in the 19 th century, such as the Gothic double. Later Dostoyevsky’s Note from Underground presented another type of anti-hero that is entirely different from the main concept. This anti-hero later transformed further through the publication of Huckleberry Finn in 1884 by Mark Twin. It also changed in the next century in 1915 with the publication of The Metamorphosis by Franz Kafka . Absurd dramatists, existentialist writers, and the postmodern period have further popularized this term with different archetypes presented in different works.

Character Traits of Anti-Hero Archetype

Anti-Hero archetypes are generally very complex characters due to their having good and bad qualities and equal proclivities to do good or evil. They are not only cynical but also highly intellectual and sometimes defy the formal laws and morals. Their intentions, however, stay always good as they undergo internal struggles between good and bad. The realist approach often brings them to the point of feeling remorse at their own misdeeds even if committed in the way of doing good. They use mostly unorthodox methods to achieve their ends. That is why they are called anti-heroes.

Types of Anti-Hero Archetype

Based on these character traits, anti-hero archetypes have three major types as follows.

Practical Rebel Anti-Hero Archetype: Such types of anti-hero archetypes follow the classical heroes. However, they rebel against the existing ethical frameworks. Yet their intentions are always good.
Immoral Anti-Hero Archetype: Such types of anti-hero archetypes are often self-centered and take their own interests into view before doing anything. They are cynical and view the world through that lens. Yet their intentions are still good even when crossing the boundaries of morality.
Heroic Villian Anti -Hero Archetype: Such types of anti-hero archetypes near villains in features as well as deeds but their actual intentions are always good. They do not want to harm others or their social fabric. Therefore, they stay anti-hero archetypes and do not become villains.

Difference Between an Anti-hero and Villain or Antagonist

The major difference between an anti-hero and a villain is that both have the power as well as the intention to commit bad deeds or do good. However, the anti-hero archetype either commits evil to bring good or avoids it, while a villain always commits evil with intentions. The second difference is that an anti-hero crosses a line that he has set for himself only when he sees it inevitable for the greater good of the world. However, a villain does not consider any such line prohibited and crosses even the most sacred lines without any qualm. The third difference is that an antagonist intends to thwart the tasks or intentions or works of a hero, while an anti-hero does not do so and always helps a hero if there is any.

Examples in Literature

The Millenium by Steig Larsson and David Lagercrantz

Steig Larsson’s series, The Millenium , features Lisbeth Slander as a female anti-hero. She does not seem a girl when she becomes furious after she sees incessant attacks on her people as well as on her. She displays the qualities of an anti-hero when she does everything that falls outside the existing moral framework as the police are after him, suspecting her of the murder of Svensson and his girlfriend. Even David Lagercrantz also involves Lisbeth in such acts, and yet her intentions are always good. Therefore, she is a good anti-hero example in literature.

The Merry Adventures of Robin Hood by Howard Pyle

Although Robin Hood does not seem to be a villain, he is not a hero either. He is rather a good example of an anti-hero who robs other people and gives that wealth to the poor. This way of helping the poor seems good but still, it is immoral as well unethical as the rich have had to pay without undergoing a fair trial. Therefore, Robin Hood seems an anti-hero who commits a bad deed of robbing the people yet harbors good intentions of helping the poor section of his people. Despite this, he breaks the laws, an act that is not considered legitimate.

Examples in Movies

Orange is the New Black by Laura Prepon

This Netflix series has been prepared by Laur Prepon, presenting the character of Alex Pearl Vause. She is a fictional character. She proves her forthrightness as well as pragmatism as she is arrested for running a drug cartel with her lover, Champman. She passes the rest of her days in the prison with him, demonstrating her wit as well as vulnerability. Due to her leading role in different seasons of the series, she is termed an anti-hero as she has good intentions, but she does not commit good deeds.

Batman, DC Comics, by Dylan Clark

Although Batman fights against the Riddler for killing the city mayor and others and chases him after he leaves specific messages for him after every murder, he defines laws at several points. He mostly comes to these points when Riddler forces him. His motivation , actually, comes from his own grief; the death of his parents. That is why he is called an anti-hero and proves a good example to refer to.

Examples in Comics

Punisher from Marvel Comics

This fictional anti-hero appears in Marvel Comics, created by Gerry Conway and John Romita with Ross Andru. Although the title suggests that Punisher wants to punish those who commit crimes, he is also involved in all types of crimes, and yet his intentions are always good. His one-man war against crimes makes him a hero, but due to these flaws in his character, he has been termed an anti-hero.

Wolverine from Marvel Comics

Although termed a super hoer, Wolverine is an anti-hero who fights against the Weapon-X program and yet comes down to applying his ferocity due to being an animal . Although his intentions are always good, he has been termed an anti-hero as he has almost all the anti-hero features given above. He has also appeared in several Marvel movies such as Marvel, Ultimate Marvel, and X-Men series but has appeared as an anti-hero.

Anti-Climax
Tragic Hero
10 Hero Archetypes with Examples
Archetype of Imagination
Caregiver Archetype
Creator Archetype
Customer Archetype
Goddess Archetype
Jester Archetype
King Archetype
Lover Archetype
Magician Archetype
Mother Archetype
Maiden Archetype
Outlaw Archetype
Queen Archetype
Quest Archetype
Ruler Archetype
Sage Archetype
Temptress Archetype
Scapegoat Archetype
Shadow Archetype
Siren Archetype
Sophisticate Archetype
Trickster Archetype
Warrior Archetype
10 Archetype Examples in Movies
Damsel in Distress Archetype
Earth Mother Archetype
Dark Magician Archetype
Wild Woman Archetype

Scriptwriting

What is an Anti Hero — Definition, Examples in Film & Literature

Types of Characters in a Story
Protagonist
Deuteragonist
Tragic Hero
Tritagonist
Anti-Villain
Foil Character
Common Character Types
Character Archetypes
Types of Villains
Femme Fatale
Mad Scientist
Damsel in Distress
What is Characterization
Characterization Examples in Movies
Characterization of Anton Chigurh Explained
Direct Characterization
Indirect Characterization
Round vs. Flat Character
Round Character
Flat Character
Static vs Dynamic Characters
What is a Static Character
Dynamic Character

W hat is an anti hero? We’ve all heard that characters like Walter White and Thomas Shelby are anti heroes, but we don’t hear why . Perhaps the better question is: what are the anti hero characteristics define them? We’re going to explore that question by looking at some anti hero examples from literature, film, and television. But before we jump into our anti hero definition, let’s review the history of the term.

Watch: What is an Antihero?

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Anti Hero Characters

First, let's define anti hero.

Anti heroes have been used in stories for over four thousand years. Many of the most acclaimed writers from around the world have used them as their protagonists , such as William Shakespeare, Fyodor Dostoevsky, and Franz Kafka. Now that we’ve touched on the term’s roots, let’s define anti hero.

ANTI HERO DEFINITION

What is an anti hero.

An anti hero is a narrative protagonist who lacks the qualities of a conventional hero. They may lack the strong morals, courage, or selflessness that we associate with heroes. Anti heroes often feel rejected by society, and veer down a self-destructive path that results in isolation or death. Over the years, anti hero characters have become one of the most popular types of story protagonists — in television (Don Draper, Tony Soprano) and in film (Michael Corleone, Daniel Plainview).

Anti Hero Characteristics:

At odds with society
Motivated by self-interest
Actions or morals are noble

Anti Hero Meaning is Rooted in the Classics

Anti hero examples in literature.

The history of the anti hero can be traced all the way back to the 2nd millennium B.C. with the Epic of Gilgamesh . Let’s check out a great video to see how the Sumerian king became a character archetype :

The Anti Hero Definition Goes Back Millennia

“After another moment's silence she mumbled that I was peculiar, that that was probably why she loved me but that one day I might disgust her for the very same reason.”

— Albert Camus, from The Stranger .

For Camus’ protagonist Meursault, there is no heaven, no love, no acceptance. The inability to find commonalities with others, or salvation within themselves, is something that most anti hero characters struggle with. No matter what they do, they’re destined to be rejected by society. This outsider mentality is something that’s come to define anti hero.

Anti Hero Movies

Anti hero examples in film.

Perhaps the best film example of the Reject anti hero is Travis Bickle in Taxi Driver . Not only is Taxi Driver one of Martin Scorsese’s best movies , it’s a masterful story of an anti hero at odds with a decaying society.

Let’s take a look at a video essay that explains how screenwriter Paul Schrader used inspiration from Dostoevsky’s Notes from the Underground and Jean-Paul Sartre’s Nausea to create one of the most iconic anti heroes of all time.

Anti Hero Examples • Travis Bickle

Despite his off-putting anti hero characteristics, Travis strives to be a hero . He does this in three ways, all of which are noble, but are perverted to the point of criminality:

Liberate women from oppression
Rid the world of ‘filth’
Die a martyr

Travis keeps his worldview under wraps, because he knows deep down that he’ll be rejected for it. Instead, the insatiable inner conflict brewing within him comes across as peculiar to others or even alluring, albeit for a short time.

Just like in The Stranger , Travis is accepted, then later rejected for his strangeness. When Betsy says that his personality is double-edged, we know that this will eventually lead her to reject him. What can we learn from the way in which Bickle is rejected? To answer that, we have to follow his actions.

Bickle does everything possible to make himself more masculine in an attempt to gain control of everything that eludes him. He wishes that he was more attractive, more powerful, more important — but he can’t be. There’s nothing he can do to become accepted. He has been, and will always be, God’s lonely man.

We imported the Taxi Driver script into StudioBinder’s screenwriting software to see how Schrader implies Travis’ breaking point. Pay special attention to the scene actions and shot suggestions. This script would serve as the blueprint for one of the all-time best anti hero movies.

What is Anti Hero -Taxi Driver Anti-Hero Example - StudioBinder Screenwriting Software (1)

What is an Anti-Hero — Travis Bickle • Read Full Scene

Through screenwriting techniques, Schrader slows down the moment for us. Here, Travis accepts the fate he’s destined to. This leads him further and further into the rabbit-hole of isolation, and eventually results in a complete departure from reality.

For more on the inner workings of Taxi Driver , check out our video on how Scorsese directed the classic and read our breakdown of the "You talkin' to me?" scene :

Taxi Driver analysis

Remember: without Paul Schrader’s expert anti hero work in the screenplay, none of this would have been possible — we wouldn’t even have one of the most iconic scenes of all time.

Joker Script Teardown →
Best Realistic Movie Villains →
What is an Unreliable Narrator? →

What’s an Anti Hero with Morals?

Anti hero vs villain.

Society is corrupt. People are wrongfully persecuted and oppressed all the time — for the color of their skin, their gender, their sexual orientation, their wealth status, their age, etc. We all know this is true, but what happens when a story makes its protagonists strike back against the status quo?

Then that protagonist is likely a moralistic anti hero.

Change doesn’t come easy — and it often requires sensational action. Take Walter White from Breaking Bad for example. Walt starts out as a pretty normal guy. He has a family, a home, a stable job — but one day, he’s diagnosed with cancer and has little means to procure treatment for himself. In Breaking Bad , you could argue that the pursuit of financial power is the major dramatic theme of the series.

But we empathize with Walt, at least at first. The system is messed up, so he rejects it by cooking meth in the pursuit of financial power, essentially abandoning his ties to the moral structure of society. This video reminds us of how Walter White changed from a high school chemistry teacher to one of the most famous anti heroes of all-time.

Anti Hero Examples • What Makes Walter White

Just like the Reject anti hero, the Moralistic anti hero is destined for isolation. Their pursuit of acceptance, power, and control consume them to the point of doom — the major difference between the two is how they became anti heroes.

It’s easier for us to empathize with a character who is the victim of corruption or oppression. One could argue that Travis Bickle was a victim of war, and that his PTSD is what incited his descent.

But I’d say that rejection is what caused him to spiral. With Walt, it was a lack of control and power, exposed by his cancer diagnosis. This system pushed him into abandoning his morals. Remember, Walt starts the series as a man disgusted by violence, power, and wealth.

Anti Hero vs. Anti Villain

We’ve established the differences in anti hero vs villain, now let’s look at what distinguishes an anti hero from an anti villain . We know– there’s a lot of terminology being thrown around, but bear with us.

First, let’s define an anti villain. Somewhat counterintuitively, an anti villain is still a villain; it’s their motives which set them apart. Whereas a villain is usually wicked through and through, an anti villain’s motives are actually virtuous.

Take Killmonger from Black Panther , for example. His anti colonialist critiques are on point. So what makes him the villain?

What is an Antihero Killmonger StudioBinder

Antihero Examples • Killmonger

Two reasons: his means of achieving his goal are less moral, and more importantly, his goals directly contradict with the protagonist.

So an anti villain, then, is nearly the polar opposite of an antihero. An antihero’s motives may not be great — as with their moral compass — but we’re still rooting for them.

Types of Anti Heroes

The corrupt protagonist.

Not all anti protagonists have ‘good’ characteristics. Some operate purely out of self-interest; they neglect their duty to others and feel no remorse. If the Reject is obsessed with acceptance and the Moralistic is obsessed with beating the system, then the Corrupt Protagonist is obsessed with wealth, fame, power — pursuits the other two types may or may not be interested in.

Thomas Shelby from Peaky Blinders , which is one of the best shows on Netflix , is a great example of a Corrupt Protagonist. It’s true that he was traumatized by World War I, and it’s true that he lives in a corrupt system, but his actions are motivated first and foremost by self-interest.

In this next video, Cillian Murphy explores how the character he plays becomes the way that he is.

Anti Hero Examples • Cillian Murphy on Peaky Blinders

For Thomas Shelby, the only thing that matters is whether or not he wins. Sure, he protects his family (sometimes), but it’s more out of necessity than generosity. Later in the series, nearly everything becomes dispensable to him.

To better understand Shelby’s view of the world, let’s take a look at the crucial ending scene from the first episode’s script. Here, Shelby spares Danny Whizz Bang’s life. Why?

Well, it’s complicated — that’s partly why Peaky Blinders is such a great show. But it’s rooted in the combination of faux-heroism and self-interest.

Let’s take a look, then we’ll break it down in further detail:

What is Anti Hero - Peaky Blinders Anti-Hero Example - StudioBinder Screenwriting Software (2) (1)

Anti Hero Examples • Read the ‘Peaky Blinders’ Script

Earlier in the script, we learn that Danny killed an Italian mafia member. In response, Tommy agrees to kill Danny to avoid further escalation.

However, he doesn’t actually kill Danny — it was all an elaborate set-up. What does this make you think of Tommy? Like maybe he’s not such a bad guy? That’s exactly what he wants you to think.

Tommy Shelby has no interest in being a hero — he doesn’t have noble ideals like Travis Bickle, nor does he have the grounded starting point that Walter White did. In the end, Shelby and White prove to be the same, but the difference is that White ended where Shelby began.

How to write an anti hero

Now that we’ve gone through the characteristics of anti heroes and looked at some examples, let’s synthesize this information into some actionable steps. How can you write the next great anti hero?

The key lies in an important distinction: approval vs. understanding. The audience should almost always understand why an anti hero is acting the way they are. If they don’t, they may disengage from the story.

Approval, meanwhile, can vary. An audience often doesn’t approve of an anti hero’s actions – that’s why they’re an anti hero. There’s a range of approval. Think again of Breaking Bad . While we don’t totally approve of Walt’s actions in the first season, we condone them way more than we do in the final season.

There are a few techniques for establishing understanding while operating on a sliding scale of approval.

Backstory, backstory, backstory

Having a backstory is arguably the most effective way to build understanding for your character.

Say your antihero is a thief. How can you get the audience to support them? Show their childhood, where they had to steal to feed their siblings because their parents weren’t around. Now we can understand why they behave the way they behave.

Kingsman: The Secret Service has a great backstory for its antihero. Eggsy comes from a terrible home life, which results in his penchant for petty crime.

We don’t need a backstory to understand a character’s motives (though it can help). If the audience has a good grasp on a character’s motives, they’ll understand why the character is behaving the way they are.

In Wolf of Wall Street , we understand that Jordan is driven by insatiable greed. Sure, this doesn’t make us approve of his actions, but it helps us understand them.

Internal Monologue

Another option: just tell your audience why the character is doing what they’re doing. Paul Schrader does this all the time – in Bringing Out the Dead , First Reformed , Light Sleeper , Taxi Driver … you get the point.

We see it in Fight Club as well. The Narrator narrates (go figure), signaling to the audience that he’s disillusioned and looking for change.

The Narrator explains

Internal conflict.

If you don’t want your audience to have absolutely no approval of your anti-hero’s actions, you can give your character internal conflict. Maybe they don’t want to keep doing the bad things they’re doing. This is a classic trope in heist movies, where a character goes along for “one last score.”

This is a big one, and also the hardest to achieve. Some of the most iconic anti heroes have an ineffable magnetism to them. Think about Don Draper, Tony Soprano, or Tommy Shelby. There’s something about them that we can’t look away from.

A lot of this is in the acting – James Gandolfini, Jon Hamm, and Cillian Murphy are incredibly talented. But some of this can come from writing, too. Make your character complex, layered and unpredictable. Give your lead something to work with, and the infamy will follow.

A great anti hero is just a great character, after all.

ANTI HERO MEANING

Making a case for the anti hero.

What does anti hero mean to you? We’ve looked at a variety of anti hero examples from literature, film, and television, so I think it’s fair to answer the question: what is an anti hero? An anti protagonist is a character who operates against social conventions. Oftentimes, their actions are illegal, their morals are corrupt, and their fate is predestined.

With that anti hero definition articulated, let me ask you this: why do we like anti heroes? Well, for starters it asks us to reflect within ourselves. Are our morals genuine? Do we feel lonely? Are we destined for a certain fate? These are the questions that anti heroes make us ask of ourselves.

By better understanding how anti protagonists are used, we’re more prepared to write characters and conflicts of any type, whether it be from the perspective of the protagonist or the antagonist .

Writing the hero’s journey

More often than not, anti heroes are destined to fail, and become destitute in the lowest pits of loneliness. Conversely, the hero is usually destined to succeed, even if it costs them their life. In this next article, we break down the hero’s journey in clearly outlined steps. By understanding how the hero’s journey works, you’ll be better prepared than ever to write your own story protagonist.

Up Next: The Hero’s Journey →

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Home — Essay Samples — Literature — Gilgamesh — Gilgamesh as An Anti-Hero

Gilgamesh as an Anti-hero

Categories: Gilgamesh Literature Review

About this sample

Words: 782 |

Published: Mar 20, 2024

Words: 782 | Pages: 2 | 4 min read

The concept of the anti-hero, gilgamesh: a flawed and complex protagonist, gilgamesh's moral ambiguity, complexity and growth.

Cite this Essay

Is Deadpool an Anti Hero?

This essay about Deadpool explores the complexity of his character, often seen as an anti-hero due to his unconventional methods and moral ambiguity. It argues that Deadpool’s actions, while outside the traditional hero mold, result in positive outcomes, showcasing a deeper level of heroism. His self-awareness and tendency to break the fourth wall are highlighted as unique traits that allow him to critique superhero narratives, inviting readers to reconsider their perceptions of heroism. The essay concludes that Deadpool’s character challenges conventional definitions of heroism, suggesting that true heroism can manifest in unexpected ways.

How it works

Deadpool, the irreverent mercenary with a penchant for breaking the fourth wall, has captured the imaginations of comic book fans and moviegoers alike. At first glance, his methods and morals seem far removed from those of the traditional heroes populating the pages of Marvel comics. Yet, beneath the layers of humor and violence, lies a character whose actions and motivations prompt a deeper examination of what it truly means to be a hero. Is Deadpool simply an anti-hero, or is there more to his character that meets the eye?

Deadpool’s journey is not one of altruism or the pursuit of justice in a conventional sense.

Unlike heroes who don capes and take vows to protect the innocent at all costs, Deadpool operates in a grey area. He’s driven by personal motivations and often uses methods that are as unconventional as they are violent. However, it’s these very traits that endear him to many, painting him as a relatable figure who struggles with personal demons and moral dilemmas, much like any of us.

Central to Deadpool’s appeal is his complex morality. He may not always save the day in the way we expect, but his actions often lead to positive outcomes, albeit through a convoluted path. His willingness to use lethal force is juxtaposed with moments of unexpected kindness and a deep sense of loyalty to those he cares about. This duality presents Deadpool as a multifaceted character who cannot be easily categorized as simply a hero or a villain.

Furthermore, Deadpool’s self-awareness and ability to break the fourth wall add another layer to his character, allowing him to critique and mock the very conventions of superhero narratives. This meta-textual awareness not only provides comic relief but also offers insightful commentary on the nature of heroism and the expectations we place on those we idolize. Through Deadpool, we are invited to question what it means to be a hero in a world that is increasingly complex and morally ambiguous.

In conclusion, labeling Deadpool merely as an anti-hero does not do justice to the depth of his character. While he may not fit the traditional mold of a hero, his actions, driven by a personal code of ethics, often result in positive outcomes. Deadpool challenges our perceptions of heroism, forcing us to reconsider the qualities we value in those we consider heroes. In a world where the lines between right and wrong are often blurred, Deadpool stands as a reminder that heroism can come in the most unexpected forms.

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Is Deadpool an Anti Hero?. (2024, Apr 29). Retrieved from https://papersowl.com/examples/is-deadpool-an-anti-hero/

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Home / Essay Samples / Literature / Hamlet / Tragic Hero and Anti-Hero in Hamlet

Tragic Hero and Anti-Hero in Hamlet

Category: Literature
Topic: Character , Hamlet , Tragic Hero

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