The Well-Known Hero In The Lone Ranger By John Shelton Lawrence

The novel Hero by Mike Lupica tells about a young boy named Zach Harriman realizing he has special powers and that there are people out in the world trying to make him turn over to the bad side, the people that use their powers for harm and not for the good cause. Zach's father, Tom Harriman, died a few months before Zach knew he was unlike others. His father worked as a special advisor to the President of the United States, doing secret operations for the President. His father was killed in a plane crash, and at the crash site the unusual thing was that no bodies were found. Zach begins to think that his father's death was no accident but murder. His father used to tell him bedtime stories of the Bads and the Good of how the used to fight

The physicality and violence of the hypermasculine hero is emphasized in the character of Edward Blake, the costumed crime fighter known as The Comedian, but this emphasis serves not to glorify him but to expose our acceptance of vigilante violence, especially when abstracted from morality. Many superheroes

A hero is universally seen as a selfless individual who puts the needs of others before themselves. Heroes usually hold the same values; honor, nobility, integrity, and strength. Now what happens when a person does not hold those heroic values? What if their motivations did not have good intentions? These are the questions that will be answered using the deconstruction critical lenses. “Today, it is much harder to detach the concept of heroism from morality; we only call heroes those whom we admire and wish to emulate.” (Lebarge web) The Greek myth of Theseus and the Minotaur has evolved into the modern trilogy of Batman which, when deconstructed, reveals how the selfish motivations of

In "The Thematic Paradigm", Robert Ray explains how there are two distinctly different heroes, the outlaw hero and the official hero. The official hero embraces common values and traditional beliefs, while the outlaw has a clear sense of right and wrong but operates above the law (Ray). Ray explains how the role of an outlaw hero has many traits. "The attractiveness of the outlaw hero's childishness and propensity to whims, tantrums, and emotional decisions derived from America's cult of childhood", states Ray. (309) Ray also says, "To the outlaw hero's inconsistence on private standards of right and wrong, the official hero offered the admonition, you cannot

The Thematic Paradigm, written by Robert Ray, shows that throughout America’s history, people are often attracted to heroes whose traits reflect those of the society at the time. Ray writes about how many American heroes are valued for their strong leadership and sense of community, but there are other heroes who are celebrated for their individuality and their ability to form their own moral laws. In The Thematic Paradigm, Robert Ray shows that the American people are drawn to those who embody traits of both good and bad values. By comparing common values and laws, showing a strong sense of individualism, and contradicting opposite views on America’s historical heroes, Ray is able to give a strong argument as to why Americans are drawn to certain characters in cinema and history.

The concept of a hero has been around for many generations, and the meaning of a hero is defined in ways people grasp its idea. A hero can be a person who has a superpower and is willing to make a personal sacrifice for the benefit of others or can be an ordinary everyday person who just wants to help people out of his or her own heart. Linda Seger’s article, “Creating the Myth,” tackles the idea of a “Hero 's Myth,” and shows the ten steps of how heroes are transformed from an ordinary person to the Savior. On the other hand, Robert B. Ray piece titled, “The Thematic Paradigm,” emphasizes that in modern films, it is either having an “Outlaw Hero or an Official Hero,” which he uses three stages to demonstrates how they are different each other in the way they perform in the society. Further, the article, “Out of Character: Wonder Woman’s Strength Is Her Compassion - What Happened?” by Stevie St. John, explains how Wonder Woman was viewed as a compassionate woman in the 1940s and 1950s, and in the 2000s she changes into a more violent person. In this essay, I argue that a hero is subjective, and is defined by the villain or event that they had to adapt to suddenly.

Being a hero does not always mean wearing capes and fighting villains during the dark hours of the night, it means so much more as Susanna Barlow, in the article “Understanding the Hero Archetype”, explains. In the novel Sleeping Freshman Never Lie by David Lubar and in the movie The Wizard of Oz, Scott and Dorothy fall upon two incredible journeys to becoming true heroes. Throughout their remarkable journeys, Scott Hudson and Dorothy Gale experience similar difficulties, obstacles, lessons, and characteristics. These experiences demonstrate how the obstacles and lessons they suffer through teach both characters very important lessons in becoming a hero. Being a true hero requires kindness, generosity, strength,

Davy, David Crockett was known as an American folk hero when he was referred in the Texas revolution. He was born on August 17, 1786 in Limestone, but grew up in East Tennessee. He was born to a pioneer family. Davy also got enlisted in the Tennessee militia. He gained a reputation because he hunted and also did a lot of storytelling.

American Heroes were inspired by Greek Tragic Heroes, yet both are very different from each other, but American Heroes have very similar traits to those who are Contemporary Heroes.  An American Hero is a person who seeks justice and always defeats the enemy which results in all people having the justice they deserve.  American Heroes also tends to protect all and has the tendency to fall in love with the “ damsel in distress”.  This type of hero goes about his daily life, just like anyone else would, until it is time to fight, and at that time, their “supernatural” powers shine through in their fighting techniques.  On the other side, all Tragic Heroes possess a flaw that will change their life from a life of happiness to a life of pain and despair.   Ordinarily, Contemporary Heroes have nearly the same traits as American Heroes.  Contemporary Heroes save and protect many individuals from violence and harm and lives a normal life until they have to face another obstacle.  Both American and Contemporary Heroes are able to celebrate their victories, while Tragic Heroes can not do so because they are not victorious.

Sporting a fedora, suit and a cigarette in hand, leaning against a wall, the captivating anti-hero stands double crossed in the stereotypical L.A. noir genre. Right in the heat of World War II noir started to rise to the top and become a popular source of entertainment and instant distraction from reality. Many people were drawn to the anti-hero; they were drawn to the flawed characters who were the “heroes” despite their flaws. A hero embodies what people want to be, most consider noir anti-hero’s the same. You can idolize them in a story, but they all have specific characteristics that make the “hero,” themselves, just as vulnerable as everyone else. An anti-hero needs to be layered, complicated, and flawed that pushes the boundaries of what is right and what is wrong. They need an illustrated struggle that builds through growth so as the audience reads they can keep showing optimism for the anti-hero as they try to seek redemption. A novel by James M. Cain, Double Indemnity’s anti-hero Walter Neff has many flaws; flaws that are egotistical and murderous, but also manipulative and powerful. Just like Walter Neff, a recent character that is the epitome of an anti-hero is, Frank Underwood in the show House of Cards. Frank started at the bottom and with his anti-hero characteristics powered his way to presidency putting many morals aside and doing what he thought was the only option to achieve what he wanted. With complex motives, a driven mindset, and no boundaries, the

The portrayal of superheroes in films has changed in terms of their character, appearance, style and strength. Superheroes has been a popular theme in hollywood films since its inception. They are what peoples imagination can only think of. A perfect human being who saves the world .The first time superhero appeared on T.V was “The Adventures of Captain Marvel” in 1941. Superheroes was on the rise within popular comic books in 1930′s to the 1940’s as well in which they were considered the ‘Golden Age of Comic Books’ . Comic books became widespread and popular which translated into making films about them.

Historically American film have been centered on heroes. In Ray’s “The Thematic Paradigm” he states that heroes as have two preset archetypes with certain characteristics. These two archetypes are the family orientated “official hero” and the loner “outlaw hero.” In Segar’s “Creating the Myth” she states that heroes are made by the steps or events that they go through on their way to becoming a hero. This means that to Seger the heroes do not start out as heroes, but as normal people. However, Ray and Seger suggest different ways in which Americans relate to film heroes, they both agree heroes are popular through common experience and relatability.

For centuries, man has struggled with the concepts of good and evil and have produced astounding works as a reflection of it. This is ideally the foundation of early fables and folklore dating back to ancient civilizations. Stories about famed heroes and the battle of good and evil woven into extravagant tales of danger, destiny, and triumph. These stories were often assimilated into individual societies, told from generation to generation until eventually finding themselves becoming an integral part of the culture. In 1938, a new era began to emerge known as the “golden age” of superheroes. Superman made his first appearance in action comics, forging a unique identity as the first comic book superhero in American culture and quickly

In Sherman Alexie’s, The Lone Ranger and Tonto Fist Fight in Heaven the author grabs the attention of the reader when he focuses on moments of racism and discrimination of Indian characters, these situations can be applicable to modern day American society. In the collection, Alexie depicts the life of several Indian’s lives, living on the Spokane Indian reservation many of whom face discrimination on a daily basis. The ideas behind the bigotry in the assortment of stories are backed by Alexie’s personal experiences of being discriminated against as well as the experience of many other Indians living in today’s society. The subject matters of racism, discrimination and stereotyping are very prevalent themes in the stories as they make the

For just under a century, comic books have given us an unparalleled medium in which we see our favorite characters fight for good against evil. Comic historian, Bradford Wright wrote about the influence of comics saying, “Emerging from the shifting interaction of politics, culture, audience tastes, and the economics of publishing, comic books have helped frame a world-view and define a sense of self for the generations who have grown up with them” (Wright, 2). However, while these same comics are developing our moral compasses, how can we be assured that the superheroes in the comics in which we read are completely just themselves, and honestly do they have to be to complete the task at hand? Although morality tends to be a popular concept to address throughout comic story lines, there is a paradoxical issue in branding our superheroes inherently good or evil – which is all determined by an ever-changing perspective.