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This article is missing information about history of antiheroes in film and comic books. Please expand the article to include this information. Further details may exist on the talk page.(February 2015)
Literary Romanticism in the 19th century helped popularize new forms of the antihero, such as the Gothic double. The antihero eventually became an established form of social criticism, a phenomenon often associated with the unnamed protagonist in Fyodor Dostoevsky's Notes from Underground. The antihero emerged as a foil to the traditional hero archetype, a process that Northrop Frye called the fictional "centre of gravity." This movement indicated a literary change in heroic ethos from feudal aristocrat to urban democrat, as was the shift from epic to ironic narratives.
The antihero entered American literature in the 1950s and up to the mid-1960s was portrayed as an alienated figure, unable to communicate. The American antihero of the 1950s and 1960s (as seen in the works of Jack Kerouac, Norman Mailer, et al.) was typically more proactive than his French counterpart; with characters such as Kerouac's Dean Moriarty famously taking to the road to vanquish his ennui. The British version of the antihero emerged in the works of the "angry young men" of the 1950s. The collective protests of Sixties counterculture saw the solitary antihero gradually eclipsed from fictional prominence, though not without subsequent revivals in literary and cinematic form.
In sports, the sporting antihero, such as professional wrestlerStone Cold Steve Austin, is not a team player, challenges officialdom, and seeks financial gain over club loyalty, yet still acquires a large fan following by way of his/her actualization of the rebel archetype.