Page 139



strategies in order to prevail. They may not feel moral, but they at least feel powerful. While the Hero wants to be Core desire: revenge or admired, the Outlaw is satisfied to be revolution feared. At least, fear implies power of Goal: to destroy what is some sort. The styles differ. Each in his not working (for the or her own way, a mobster, a revoluOutlaw or the society) tionary, a skinhead, and an adolescent Fear: being powerless, with numerous tattoos or body pierctrivialized, inconsequening may feel powerful making others tial scared or uncomfortable. Strategy: disrupt, deAny kind of effective action against stroy, or shock them dispels the fear of victimization, Trap: to go over to the so the cowboys with the black hats ride dark side, criminality in and shoot up the town with no more Gift: outrageousness, of a goal than simply to disrupt things radical freedom and feel powerful. Both the Hero and the Outlaw feel anger. The Hero takes action when he or she is outraged by injustice. The Outlaw’s anger tends to be provoked by being slighted as a person. Whereas Heroes identify with their community, Outlaws feel deeply estranged from it. You might imagine the typical villain in Superman or Batman comics—Lex Luthor or the Joker—who often has become evil as a result of being humiliated or exiled (for being different, maimed, or defective in some way). The natural habitat for the Outlaw is places that are hidden and shadowy—out of the way. Psychologist C. G. Jung described the way in which individuals and cultures have Shadows—qualities that are judged unacceptable and hence are hidden and denied. People do not want to acknowledge their own Shadows, even to themselves, so they often project them onto others, seeing those others as the problem. The Outlaw may be The Outlaw holds the shadowy known as the rebel, the qualities of the culture—that is, the revolutionary, the villain, qualities the society disdains and disthe wild man or woman, regards. In this way, the Outlaw can rethe misfit, the enemy, or lease society’s pent-up passions—as, in the iconoclast. more ancient times, festivals allowed The Outlaw

Profile for Lewis Lafontaine

Mack, Margaret - Hero and Outlaw Archetype  

Mack, Margaret - Hero and Outlaw Archetype