The antihero prevails in recent American drama television series. Characters such as mobster kingpin Tony Soprano (The Sopranos), meth cook and gangster-in-the-making Walter White (Breaking Bad) and serial killer Dexter Morgan (Dexter) are not morally good, so how do these television series make us engage in these morally bad main characters? And what does this tell us about our moral psychological make-up, and more specifically, about the moral psychology of fiction? Vaage argues that the fictional status of these series deactivates rational, deliberate moral evaluation, making the spectator rely on moral emotions and intuitions that are relatively easy to manipulate with narrative strategies. Nevertheless, she also argues that these series regularly encourage reactivation of deliberate, moral evaluation. In so doing, these fictional series can teach us something about ourselves as moral beings—what our moral intuitions and emotions are, and how these might differ from deliberate, moral evaluation.

The last ten years have seen a shift in television storytelling toward increasingly complex storylines and characters. In this study, Hagelin and Silverman zoom in on a key figure in this transformation: the archetype of the female antihero. Across genres, these female protagonists eschew the part of good girl or role model in their rejection of social responsibility

Advances in science and technology no longer change how we live, they determine it. In the not-too-distant future, techno-scientific developments may make individuals stronger, smarter, healthier and more productive--but to what end? Addressing this question, speculative fiction has created an abundance of transhuman characters, protagonists with extraordinary strength, intelligence or abilities. Often they are antiheroes, openly rejecting--or rejected by--society and acting on immoral or extreme principles that challenge readers to approve, condemn, excuse or explain. This study explores the antihero of speculative fiction as a paradoxical blend of human and transhuman. These protagonists illustrate the dynamics of individual, techno-scientific and societal norms, and blur distinctions between human and machine, biology and technology, right and wrong. Fictional works covered include Mary Shelley's Frankenstein (1818), Olaf Stapledon's Odd John (1935), Alfred Bester's The Stars My Destination (1956), William Gibson's Neuromancer (1986), Alan Moore and Dave Gibbons' Watchmen (1986-1987), Richard Morgan's trilogy (Altered Carbon, 2001, Broken Angels, 2003 and Woken Furies 2005) and Black Man (2007).

This title examines the role and theme of the antihero archetype in Macbeth, Wuthering Heights, Notes from Underground, and Native Son. It features four analysis papers that consider the antihero theme, each using different critical lenses, writing techniques, or aspects of the theme. Critical thinking questions, sidebars highlighting and explaining each thesis and argument, and other possible approaches for analysis help students understand the mechanics of essay writing. Features include a glossary, references, websites, source notes, and an index. Aligned to Common Core Standards and correlated to state standards. Essential Library is an imprint of Abdo Publishing, a division of ABDO.

In an age of upheaval and challenged faith, traditional heroes are hard to come by, and harder still to love, with their bloodstained hands and backs unbowed by the consequences of their actions. Through penetrating readings of key works of modern European literature, Victor Brombert shows how a new kind of hero—the antihero—has arisen to replace the toppled heroic model. Though they fail, by design, to live up to conventional expectations of mythic heroes, antiheroes are not necessarily "failures." They display different kinds of courage more in tune with our time and our needs: deficiency translated into strength, failure experienced as honesty, dignity achieved through humiliation. Brombert explores these paradoxes in the works of Büchner, Gogol, Dostoevsky, Flaubert, Svevo, Hašek, Frisch, Camus, and Levi. Coming from diverse cultural and linguistic traditions, these writers all use the figure of the antihero to question handed-down assumptions, to reexamine moral categories, and to raise issues of survival and renewal embodying the spirit of an uneasy age.

The most interesting characters are almost never the good guys. Doing the right thing is great and all, but a little bit of darkness—or a lot of it—often makes for a more engaging story. Antiheroes: Heroes, Villains, and the Fine Line Between is dedicated to the dark heroes and sympathetic villains we love. Find out why William McKinley High's agonist Sue Sylvester is essential to Glee. Discover where your favorite comic book character falls on the continuum of good and evil. Weigh in on Twilight's very dangerous boy Edward Cullen: romantic, sparkly hero, or sociopath suffering from Antisocial Personality Disorder? Plus other essays on: • The Vampire Diaries' most antiheroic antihero, Damon Salvatore • America's favorite serial killer, Dexter Morgan, and the nature (and nurture) of evil • The curious appeal of Alias' Arvin Sloane • Supernatural's vampire hunter-cum-vampire Gordon Walker • The shared monstrosity of Spider-Man, Doc Ock, and the Green Goblin • Gun-slinging necromancer Anita Blake, and the benefits (and pitfalls) of embracing the monster within This brand new, e-book only collection of essays—"remixed" from previous Smart Pop series titles—gives a funny and thought-provoking in-depth look at the antihero, from the villains just a little too good to be unequivocal bad guys, and the heroes just a bit too bad to be truly good.

Modern films, shows, video games, and books are filled with bad guys gone good, "heroes" who fight for justice in unconventional ways. As entertaining as they are, without wise adults to point teens toward true justice and heroism, an entire generation could grow up believing people in masks are our hope. This guide will equip you to talk to your teen about why these characters are so appealing and what we can learn from both their positive, and negative traits. Parent Guides are your one-stop shop for biblical guidance on teen culture, trends, and struggles. In 15 pages or fewer, each guide tackles issues your teens are facing right now—things like doubts, the latest apps and video games, mental health, technological pitfalls, and more. Using Scripture as their backbone, these Parent Guides offer compassionate insight to teens’ world, thoughts, and feelings, as well as discussion questions and practical advice for impactful discipleship.

Much philosophical work on pop culture apologises for its use; using popular culture is a necessary evil, something merely useful for reaching the masses with important philosophical arguments. But works of pop culture are important in their own right--they shape worldviews, inspire ideas, change minds. We wouldn't baulk at a book dedicated to examining the philosophy of The Great Gatsby or 1984--why aren't Star Trek and Superman fair game as well? After all, when produced, the former were considered pop culture just as much as the latter. This will be the first major reference work to right that wrong, gathering together entries on film, television, games, graphic novels and comedy, and officially recognizing the importance of the field. It will be the go-to resource for students and researchers in philosophy, culture, media and communications, English and history and will act as a springboard to introduce the reader to the other key literature in the field.

Intersectionality and decolonisation are prominent themes in contemporary British crime fiction. Through an in-depth critical and contextual analysis of selected contemporary British crime fiction novels from the 1990s to 2018, this distinctive book examines representations of race, class, sexuality, and gender by John Harvey, Stella Duffy, M.Y. Alam, and Dorothy Koomson. It argues that contemporary British crime fiction is a field of contestation where urgent cultural and social questions are debated and the politics of representation explored. A significant resource which will be valuable to researchers and scholars of the crime genre, as well as British literature, this book offers timely critical engagement with intersectionality and decolonisation and their representation in contemporary British crime fiction.

Prewriting Your Screenplay cements all the bricks of a story’s foundations together and forms a single, organic story-growing technique, starting with a blank slate. It shows writers how to design each element so that they perfectly interlock together like pieces of a puzzle, creating a stronger story foundation that does not leave gaps and holes for readers to find. This construction process is performed one piece at a time, one character at a time, building and incorporating each element into the whole. The book provides a clear-cut set of lessons that teaches how to construct that story base around concepts as individual as the writer’s personal opinions, helping to foster an individual writer’s voice. It also features end-of-chapter exercises that offer step-by-step guidance in applying each lesson, providing screenwriters with a concrete approach to building a strong foundation for a screenplay. This is the quintessential book for all writers taking their first steps towards developing a screenplay from nothing, getting them over that first monumental hump, resulting in a well-formulated story concept that is cohesive and professional.