Great Christian Movies About The Resurrection

Two great Christian movies both happen to focus on the resurrection of Jesus Christ.
on Apr 17, 2017 · No comments

Why do two great Christian movies both happen to focus on the resurrection of Jesus Christ?

Many Christians already know Christian movies tend to be shallow and even terrible. It’s why even Christian movie fans come prepared with reasons for seeing them anyway: “Well, we need to support movies like this.” “Well, we need to send a message to Hollywood.” “Well, it’s just a movie.” “Well, it’s really the message that’s best.”

Just once I’d like to see Christian movies that don’t require us to act like women at the “well,” if you catch my drift.

These films vex many Christians due to poor acting and simplistic themes, but they’re also vexing because of the overwhelming praise and support they receive from our Christian friends and neighbors. Even those of us who dislike art snobbery find such praise disproportionate.

I have tried to like such films, and perhaps they have a place. But why must Christian fans stop at those kinds of stories and proclaim them our best? Biblical Christianity calls us to explore creatively deeper stories that cross cultures and, even at the popular level, show God’s truths and beauties onscreen — including themes that go beyond conversion stories, “miracle” accounts, and American social issues.1

But within the past year, we’ve received at least two great Christian movies. I’ve seen the first, and not yet seen the second, but its reviews are stunningly positive, even from skeptics. And both films focus on Jesus’s resurrection.

Last year, Risen brought the story of a fictional Roman centurion named Clavius. In this biblical drama, Clavius supervises part of Jesus’s crucifixion and then the burial of Jesus Christ. Which of course means he has his hands full when the body disappears and Pontius Pilate gets on his case, to get on the case of the century.

Risen isn’t like usual biblical dramas that cast biblical heroes as central characters. It works better because it’s about one fictional man, Clavius (Joseph Fiennes), and his reaction to biblical historical events.

Before any of the “Bible story” parts begin, we see Clavius leading Roman soldiers against a troop of wild revolutionaries. He quietly, easily dispatches a zealot with a familiar name. But Clavius isn’t cruel. He’s a dutiful, professional officer of the law. When he shares with someone that he wants power and ambition, he’s only saying that. Like a good “noble pagan,” he reveals he’s a true believer in at least one false god, and longs for a day beyond war when he can salvage a quiet countryside and live the rest of his short life in peace.

To describe this, I’m necessarily reduced to using words. Don’t misunderstand. Risen fulfills one of the basics of better cinematic stories that many Christian films don’t: what you see tells the story just as much, if not more, than what you hear. We don’t just hear about them but we see biblical images fleshed out — such as Clavius clad in blood and filth versus the clean washing of water, and the constant images of death’s decay versus the offer of eternal life and peace.2

Fast-forward from the 30s via 2016 to the 1980s via 2017. Another Christian movie is stacking up what are, for Christian movies, rave reviews — The Case for Christ. (This is the one I haven’t seen yet, but will soon.)

This film adapts the popular nonfiction book by Lee Strobel into a historical drama about his life, and eventual conversion to Christianity. Reviews from Christian movie skeptics, and secular reviewers, universally praise the film’s respect for its characters (Christians and atheists and in-between) and even its respect for the time period.

In other words, it turns out that if Christian movies believably show “earthly” things, even hardcore critics might “believe” when you also tell them heavenly things.3

So far, The Case for Christ won over a majority of critics who have reviewed it, according to the (hit and miss) aggregate review site Rotten Tomatoes.

Here’s gentle-snark Christian YouTuber, and part-time Christian movie reviewer, Kevin McCreary:

At Forbes, Luke Thompson concludes:

While there’s obvious triumph for conservative viewers in the tale of a member of the “liberal media” coming over to their side, the film doesn’t bash journalists in the same way that The Resurrection of Gavin Stone felt the need to make all of Hollywood look bad in its actor-conversion story. There are no out-and-out villains in this film; just plenty of people with flaws. And it’s with sympathy for all of them, perhaps, that Jon Gunn makes his best case for Christianity, even for folks not completely sold on Christ Himself.

The Hollywood Reporter‘s Frank Sheck is more mixed, but doesn’t hate it. He does, however, make sure to follow secular Christian-movie-review stylebook and work the phrase “[please] the faithful” into the review:

The Case for Christ won’t garner many new converts, especially since the evidence presented, at least in the film, proves sketchy at best. But it will certainly please the faithful, and proves more engrossing than most films of its ilk.4

And my Christ and Pop Culture/Christianity Today colleague Kevin McLenithan notes:

Every writer encounters a certain maxim at some point while learning his or her craft: “Show, don’t tell.” The underlying principle is that a story is always stronger when it can make its audience feel something rather than simply instructing them how to feel. It’s no surprise, then, that The Case for Christ is strongest when it remains content to thoughtfully explore Strobel’s story. When it sets exploration to the side and wields that story like a sermon anecdote, the failure of imagination infects the filmmaking.

I hope that The Case for Christ’s successes, rather than its flaws, will nonetheless serve as a model for future faith-based films. In its climactic conversion scene, Lee Strobel attempts to pray, but stumbles over his inexperience: “God, I don’t know what I’m doing,” he laughs. That moment—honest, plain, and shot through with joy and humility—serves the film’s purposes better than all of its Bible experts combined. That’s what we really came to see.

What is it, apparently, about Jesus’s resurrection that helps these great Christian movies?

Maybe it’s because his resurrection reminds us that Jesus is not distant-spirit, but God-and-Man, forever.

Maybe it’s because Jesus as a forever God-and-Man validates God’s approval of his material universe.

Maybe it’s because, when we value the material world, our stories necessarily do the same. And that way our stories do not view the material world as just a shell, or pretty wrapping for the real significant content of spiritual lessons. That way, our stories better tell us earthly things, so we can better believe heavenly things.

  1. E. Stephen Burnett, ‘Risen’ Reflects the Subversive Power of the Resurrection, Christ and Pop Culture, Feb. 23, 2016.
  2. Ibid.
  3. I borrowed this line from my Left Behind (2014) movie review. Even better, when Christian movies do get good reviews, the makers don’t need to tell their fans deceptive “earthly things,” such as that the critics only despise the movie because it’s Christian.
  4. My editorial hatred for the phrase “the faithful” is growing more diabolical.

Easter and God’s Earth-Shattering New Covenant

For Easter, novelist Brian Godawa explores the Bible’s earth-shattering symbolism.
on Apr 15, 2017 · No comments

As I wrote yesterday, I just released a new supernatural conspiracy novel about the historical origin of the book of Revelation titled, Tyrant: Rise of the Beast. That means I could no longer avoid the perpetual debate over Bible prophecy interpretation. But as a researcher of ancient literature, I think I can offer some insight for Easter into the literary and poetic nature of the Biblical prophecy that is so often lost in translation to our modern western scientific mind.

I previously explained that we misinterpret the book of Revelation if we do not approach it as a text that is rooted in an ancient Jewish context of meaning. And that context is saturated in the imagery of Old Testament prophetic imagination, not modern newspapers.

Yesterday I looked at the imagery of a collapsing universe in Revelation. The modern evangelical mindset often literalizes the destruction of the earthly land and heavenly host, and misinterprets it as the end of the space-time universe, something the biblical authors never intended. Cosmic catastrophes are a biblical metaphor for God’s judgment of earthly rulers and the spiritual powers behind them, as well as a metaphor for covenantal change.

In the spirit of Easter, I want to take a look at a follow up to that judgment on sin, namely the new heavens and new earth.

Then I saw a new heaven and a new earth, for the first heaven and the first earth had passed away.1

Here, as elsewhere, John is not saying anything new to his readers. They would be very familiar with the promised new heavens and earth from Isaiah.

“For behold, I create new heavens and a new earth …”2

In our modern 21st century minds we cannot help but picture our physical universe being completely replaced. But while that physical result may be in our future, it is not primarily what the prophecy about a new heavens and earth is about. Here is what it is about: The New Covenant replacing the Old Covenant is figuratively depicted as a new heaven and earth replacing the first heaven and earth in Revelation.

First, a closer look at Isaiah 65 yields a new heavens and earth that is covenantal rather than physical. The image that the “wolf and lamb shall graze together” is a metaphor for the peace that God’s kingdom brings. But this is a peace that occurs in a new heavens and earth where there is still old age, death, the curse of sin, and even the serpent.

You read that right. Now see for yourself in the Scripture.

No more shall there be in it an infant who lives but a few days, or an old man who does not fill out his days, for the young man shall die a hundred years old, and the sinner a hundred years old shall be accursed… and dust shall be the serpent’s food.3

How is it that the ancient Hebrew could envision a new heavens and earth with the elements of the old heaven and earth still around? Because their notion of “heavens and earth” was primarily covenantal. That is, the concept of heavens and earth was a cultural meme that expressed God’s covenantal order through cosmic language.

When God established his covenant with Moses after the Red Sea crossing, it was described using the language of creation.

I am the Lord your God, who stirs up the sea… And I have put my words in your [Moses’] mouth and covered you in the shadow of my hand, establishing the heavens and laying the foundations of the earth, and saying to Zion, ‘You are my people.’”4

God establishing his covenant with his people was the equivalent of creating the heavens and earth. His covenant is the spiritual cosmos to the Jews like the physical cosmos would be to us.

If “heavens and earth” is a biblical metaphor for the covenant, then the destruction of the earthly form of that covenant, the temple, would be described as the destruction of the heavens and earth. Notice in this Scripture how the destruction of the first temple in 587 BC is described as an inversion of the creation in Genesis 1 by returning to the pre-creation chaos of Genesis 1:1 (“Without form and void.”)

I looked on the earth, and behold, it was without form and void; and to the heavens, and they had no light. I looked on the mountains, and behold, they were quaking… I looked, and behold, there was no man, and all the birds of the air had fled… For this the earth shall mourn, and the heavens above be dark.”5

So the new heaven and new earth language in Revelation is a beautiful picture of the spiritual reality of the New Covenant kingdom of God that replaces the Old Covenant “heavens and earth.” A real kingdom, but a spiritual one that exists now within our cursed world (Isaiah 65). And it builds toward the eventual elimination of sin, death, and suffering by God’s own intervention (Revelation 21:4).

This is why the prophet Haggai predicts the coming New Covenant through Yahweh saying, “Yet once more, in a little while, I will shake the heavens and the earth” (Haggai 2:6).

The writer of Hebrews explains that that shaking of heavens and earth is not a literal destruction of the physical cosmos, but rather an image of an imperfect Old Covenant Jerusalem and temple being destroyed and replaced by a perfect New Covenant with new heavenly Jerusalem and temple in Jesus that will never be shaken again. Hallelujah!

This phrase, “Yet once more,” indicates the removal of things that are shaken—that is, things that have been made—in order that the things that cannot be shaken may remain. Therefore let us be grateful for receiving a kingdom that cannot be shaken.6

Of course, this is only the tip of the holy mountain of biblical symbolism used by John in the book of Revelation. If you want to dive into more exploration of this ancient Hebrew worldview, I’ve written a companion book for the novel. It’s called End Times Bible Prophecy: It’s Not What They Told You.

Check out the novel Tyrant: Rise of the Beast here.

  1. Revelation 21:1.
  2. Isaiah 65:17.
  3. Isaiah 65: 20, 25.
  4. Isaiah 51:15–16 (emphasis added).
  5. Jeremiah 4:23–28 (emphasis added).
  6. Hebrews 12: 27–28.

Good Friday and Revelation’s Judgment on Sin

Novelist Brian Godawa asks: Does Revelation really prophesy meteors, plagues, and a collapsing universe?
on Apr 14, 2017 · 12 comments

I just released a new supernatural conspiracy novel about the historical origin of the book of Revelation titled, Tyrant: Rise of the Beast, which drew me into the eternal debate over Bible prophecy interpretation. I want to share a little something of the power and beauty of Biblical imagination that I have learned in the process.

If we want to approach Revelation properly, we must understand that its interpretation is rooted in an ancient Jewish context of meaning, not our modern one. We must seek to understand the text as its original writer intended. And that context is saturated in the imagery of Old Testament prophecy.

The apostle John draws so heavily from the Old Testament that scholars claim it has more Old Testament allusions and echoes than any other New Testament book. If we want to “unveil” the hidden beauty and meaning of God’s Word (revelation means unveiling), we must look back to the Old Testament first, before we start exegeting current newspapers looking for modern correspondences. And when you do look back instead of forward, wow, what an unveiling of Jesus Christ occurs!

One of the primary purposes of Revelation, stated right up front by John, is to describe God’s judgment on those who pierced Christ.

Behold, he is coming with the clouds, and every eye will see him, even those who pierced him, and all tribes of the land will wail on account of him.1

This is particularly relevant for Good Friday meditation because it gives the believer hope that Christ will be vindicated against those who rejected him as messiah and crucified him. There is judgment on sin before resurrection and final glory.

But what does this judgment look like? Many Christians read Revelation so literally as to assume that this involves the physical destruction of the world. They read passages like the sixth seal and it seems so obvious:

When he opened the sixth seal, I looked, and behold, there was a great earthquake, and the sun became black as sackcloth, the full moon became like blood, and the stars of the sky fell to the earth as the fig tree sheds its winter fruit when shaken by a gale. The sky vanished like a scroll that is being rolled up, and every mountain and island was removed from its place.2

To our modern non-Hebrew eyes this reads like scientific cosmic catastrophes. Meteorites pounding the earth, the sky being sucked into a black hole, and all the mountains flattened and all the islands gone.

And Jesus seems to affirm this when, at his Olivet Discourse, he says that “Immediately after the tribulation of those days the sun will be darkened, and the moon will not give its light, and the stars will fall from heaven, and the powers of the heavens will be shaken.”3

To us, this all reads like the end of the space-time universe. Except it’s not.

John’s language is nothing new to his ancient Jewish audience. They were very familiar with this kind of imagery from the Old Testament prophets who used extreme cosmic catastrophes all the time as spiritual metaphors to describe the fall of earthly rulers and the spiritual principalities and powers behind them.

In fact, in this very passage of Revelation 6, John draws directly from Isaiah. The prophet describes the fall of Edom and the surrounding nations to the Babylonians around 587 BC with the same exact terms as does John.

All the host of heaven shall rot away, and the skies roll up like a scroll. All their host shall fall, as leaves fall from the vine, like leaves falling from the fig tree. For my sword has drunk its fill in the heavens; behold, it descends for judgment upon Edom, upon the people I have devoted to destruction.4

But here’s the point: this all happened in 587 BC. You read that right.

When the Babylonians destroyed Edom, the stars obviously didn’t literally fall to the earth. Remember, if you believe this is literal, then you would have to believe that literal stars fell to our literal earth. But stars are suns like our own. One star/sun alone would have burned up the entire galaxy on its way to collision with earth. So no one takes that literally (meteors would be a non-literal interpretation). The sky didn’t literally roll up like a scroll (or black hole) in 587 BC, because if it did, it would have been the end of the space-time universe.

Isaiah is describing the fall of earthly rulers and their spiritual powers behind them. He says so in Isaiah 34:12: “[Edom’s] nobles—there is no one there to call it a kingdom, and all its princes shall be nothing.”

In the Bible, the sun, moon and stars (“heavenly host”) were symbolic of earthly rulers and their spiritual powers behind them (Judg 5:19-20). When God destroyed Babylon through the Medes in 539 BC, he described it as the “destruction of the whole earth” (Isa 13:5), the “darkening of the sun, moon and stars” (v. 10), and the earth and heavens being “shaken from their place” (v. 11). Obviously, the whole earth wasn’t destroyed in 539 BC, nor were the earth and heavens shaken from their place, otherwise, none of us would be here. This same exact language that John uses in Revelation is not end of the space-time world, but a spiritual metaphor for the fall of earthly and heavenly powers under the judgment of God (Isa 24:21).5

So it is true that God is judging in Revelation, but it is not necessarily the literal destruction of the heavenly host and earth that is occurring, but a judgment of God upon the earthly rulers and spiritual authorities behind them.

And think about it. In Christ’s death, he “disarmed the rulers and authorities and put them to open shame, by triumphing over them in him” (Col 2:15). Christ’s triumphal parade did not occur until his resurrection and ascension into heaven (1Pet 3:22; Eph 4:8-9), but his victory over the principalities and powers in both heaven and earth was accomplished first and spiritually at the cross. Christ’s sacrifice of the New Covenant was a spiritually real but physically metaphorical “shaking of the heavens and earth” (Heb 12:22-28).

Of course, this is only the tip of the holy mountain of biblical symbolism used by John in the book of Revelation. If you want to dive into more exploration of this ancient Hebrew worldview, I’ve written a companion book for the novel. It’s called End Times Bible Prophecy: It’s Not What They Told You.

Check out the novel Tyrant: Rise of the Beast here.

In part 2, available Saturday, April 15, Brian Godawa shares an Easter exploration of God’s earth-shattering New Covenant.

  1. Revelation 1:7.
  2. Revelation 6: 12-14.
  3. Matthew 24:29.
  4. Isaiah 34: 4-5.
  5. When God judged Israel in 586 BC through the Babylonians, Isaiah describes that event as the foundations of the earth “trembling” (Isa 24:18), the earth being “split apart,” “violently shaken,” “staggering,” and falling, “not to rise again” (v. 19-20), as well as the sun and moon being “confounded and ashamed” (v. 23). He then explains to us that these cosmic disturbances were not the literal end of the universe that they read like, but metaphors for the fact that God “will punish the host of heaven, in heaven, and the kings of the earth, on the earth” (v. 21).

The Rapture Is Fun, But Resurrection Is Better

I still like the Rapture idea, but here’s why I no longer believe it.
on Apr 13, 2017 · 4 comments

Once I believed in the Rapture. Now I don’t. In short, it’s the fault of resurrection belief.

In fact, I wonder if Christian belief in the rapture gets weaker as resurrection belief gets stronger. So far, I can’t say for sure. But I’ve noticed this tendency in others and in myself.

Many good and biblical Christians believe in the Rapture as a separate event. Here, Jesus supernaturally snatches his people away from Earth. Some say we get snatched out of our very clothes, leaving behind even pacemakers and things. (The exact doctrinal reasons are left undefined.) These Christians believe the Rapture event will occur sometime before a seven-year time of divine judgments and other terrors on Earth, which lead to the second coming of Jesus.1

For the 1970s Rapture, you got to keep your groovy clothes.

But in this view, the final resurrection of the saints (Jesus’s saved people) won’t happen until the very end of yet another prophesied period, the one-thousand-year Millennium (Rev. 20: 1-6). During this time, Jesus reigns on the earth, but not everyone follows him.2

I have enjoyed, and still enjoy, the concept of the Rapture. I was a big Left Behind series fan and still appreciate how God used this series in my life. And I even used to draw doodles of, say, myself magically vanishing. (I’m not sure if I seriously expected this to happen soon.)

But now I’ve become one of Those Christians, who critique the Rapture idea as most people understand it. However, I hope I’m less snarky than the Christians I used to read!

I still believe in Jesus’ return and in the Resurrection. And if you use the word “Rapture” to refer to the catching-up of believers to be resurrected, of course I believe in that. But I no longer believe in the vanish- before-Tribulation Rapture. Here are three reasons why.

1. Revelation is likely meant to be symbolic.

Several Christian authors defend their view of a pre-Tribulation Rapture because they don’t believe God would let His people suffer through the Tribulation. I’m not sure this makes a lot of sense. After all, they do believe God will start a new Church, mostly of Jesus-believing Jews, who do suffer during the Tribulation. So what’s the point?

A quicker way to challenge this view is simply to ask if the Bible forecasts a real Tribulation anyway. Does the book of Revelation clearly teach we’re due for a seven-year dystopia?

By now, Dr. Tim LaHaye (1926-2016) has the correct end-times view for sure.

The late great author Tim LaHaye and others defend their view of Revelation like this:

The best guide to Bible study is “The Golden Rule of Biblical Interpretation.” To depart from this rule opens the student to all forms of confusion and sometimes even heresy.

When the plain sense of Scripture makes common sense, seek no other sense, but take every word at its primary, literal meaning unless the facts of the immediate context clearly indicate otherwise.3

This is how LaHaye and others attempt to read the book of Revelation: Let’s try to take it literally, unless you simply can’t, based on common sense and context. Simple, right?

Not necessarily. LaHaye might phrase this better elsewhere. But here he ignores what theologians call the more clearly stated grammatical-historical method of reading Scripture. Others emphasize the role of genre in determining whether you read a work as “literal” or not. In other words, if you are trying to read biblical poetry “literally,” you are actually reading it like a liberal. You’re ignoring the actual intent of the Author and authors.

In fact, LaHaye’s “literal” vs. “non-literal” dichotomy doesn’t help when you explore some passages, such as the Psalms. These often refer to God using human terms. One moment, God sends thunder and lightning. Then the next He inhales the scent of burnt offerings or covers you with His wings. In either case, you could “take every word at its primary, literal meaning unless the facts of the immediate context clearly indicate otherwise.” You could conclude that God sends thunderbolts and has nostrils and wings. That’s the “literal meaning,” right? And yet the Psalmist mixes facts with fantastical, symbolic imagery.

What then about Revelation? Some good Christians argue (I think convincingly) that this book is meant to serve a mix of fact and symbolism. Therefore, if you try first to read it “literally,” you’re actually not being very “literal.” Because it’s meant to be figurative.

As with the epistles, the primary meaning of the Revelation is what John intended it to mean, which in turn must also have been something his readers could have understood it to mean.4

In that case, the tribulation paradigm—and all those questions about whether God wants the Church to go through the tribulation—is itself called into question.5 Yet here is what startled me: you can’t find the Rapture in Revelation anyway.6 For Rapture teaching, you need to look to two other passages, both written by the apostle Paul. And here is where the traditional, vanish-from-clothes Rapture runs into more challenges. Christians may debate Revelation’s genre. But the epistles are a bit easier to understand.

2. 1 Corinthians 15 is about the Resurrection, not a separate Rapture.

Here the apostle Paul writes of the Resurrection as a future event. In the Resurrection, Jesus brings His people to life, reuniting their souls with new, spiritual (that is, Holy Spirit-powered) physical bodies. That way, we can live for eternity on a physical New Earth.7

Rapture teachers like to single out verses 51-56. These describe the “twinkling of an eye,” trumpeted moment when “we shall be changed.” However, in Rapture teaching, people first vanish from their clothes to be with Jesus. Later they are still waiting for at least the first phase of the Resurrection after the Tribulation period (Rev. 20: 4-5). Big problems here:

  • “In a twinkling of an eye,” the “rapture” and Resurrection happen all at once.
  • There are no gaps between these events.
  • Repeat: there are no gaps between these events, not seven years, 1,000 years, or any years. It happens in a flash, in the “twinkling of an eye,” saith the Lord through Paul.
  • Even more challenging, this moment marks the very end of death itself! At this rapture/resurrection, “death is swallowed up in victory” (1 Cor. 15:54). But rapture teaching still has plenty of death left to go. Millions die during the tribulation, and some people die at the end or even during the Millennium period on Earth. I think this argument alone destroys the idea of a separate rapture before the Resurrection. I’ve not yet seen any counter to this argument (though I welcome anyone’s attempt).

3. 1 Thessalonians 4 describes the single, public return of Jesus.

This Easter weekend we will celebrate Jesus’s death and resurrection. All biblical Christians expect Him to return gloriously, as described in passages such as 1 Thess. 4: 13-18.

This passage, like 1 Cor. 15, ignores all other prophecies imported from particular views of Daniel or Revelation. It simply refers to Jesus’s return. This passage also describes this event as a single event. Here we do find one “order” to the Resurrection: “the dead in Christ will rise first,” apparently getting a particular privilege (verse 16; that belief must have been a particular comfort to the grieving Thessalonian believers)! Then immediately after this first Resurrection “phase,” all other believers are “caught up together with them in the clouds to meet the Lord in the air” (verse 17). Again: Paul describes this as a single event.

Also, Paul speaks of this in very public terms. Jesus descends from heaven with a “cry of command” and the trumpet. The terms match Revelation 19’s imagery of his return, and 1 Corinthians 15’s herald of the Resurrection. Apparently everyone can see Jesus here. And Paul doesn’t mention interruptions of seven years, or 1,000 years, or any years whatsoever.

Again, I welcome any challenge to my view. But I don’t see how Jesus’s return is “split” into two separate events (first Rapture, then “glorious appearing” public arrival) any more than the bodily Resurrection of saints is split two or three ways with years in between.

4. Finally, Resurrection is more biblical and robust than the Rapture.

So what’s my current end-times view? I have not declared that minor. You may even call me an “agnostic” on that topic. For now, anyway, I’d prefer to major on the Bible’s main course. This is not just the idea that “God wins,” or that “pan-millennialism” is the proper end-times view. Instead, the Old Testament hints, and Jesus directly prophesies, that His people ought to major on anticipating a glorious future of reigning as resurrected saints in His world.

We have a whole holiday weekend themed around the past resurrection of Jesus Christ and the future Resurrection of His people. The incredible, fantastical wonder of this event is far more amazing, biblical, beautiful, and full-bodied than speculation about the Rapture.

Again, the Left Behind series and other works about the Rapture are loads of fun to read. But upon further reflection, they don’t really know where to go after the unmanned cars crash, and Beast starts a dystopia, and then plagues and persecution pour down. This is most striking in the final Left Behind prequel, The Rapture, which tries to follow snatched-away saints up to Heaven. The book does not benefit from its assumed belief that “Heaven,” as it is now, is where we’ll spend eternity. When scenes occur in Heaven, there are no clear rules, either biblical or imaginary, for space and time. Therefore there is nothing relatable for the Christian characters whom we follow “up there.” In fact, the most interesting stuff is going on back on Earth, where people weep and suffer and get tricked by the Antichrist.

Similarly, the Bible constantly presents “earthly” imagery for its portrayal of the final, eternal state of God’s people. This is for a very good reason: Christians should not simply expect a great “snatching away” to Heaven where we’ll live forever!8 In fact, the Resurrection will prepare Christians for exciting lives of wonder and worship on this renewed planet for eternity.

It’s fun to debate end-times beliefs, so long as we’re doing this in the spirit of perspective, Christlikeness, and fun. But whatever exactly happens around Jesus’s return is of secondary importance. Far more important is the Bible’s blessed hope (Titus 2:13): this same Jesus who resurrected and ascended into the clouds, will return the same way. And as He does, He will resurrect His people: real people, in real glorified bodies, with real hearts and personalities, and real appetites for food and fellowship and adventures forever.

  1. Some Christians believe the rapture happens sometime during the seven-year Tribulation period. Or it may happen at the period’s very end, simultaneous with Jesus’s physical return to Earth. The latter view may better account for the Bible’s references to saints being “caught up” while Jesus comes down, as if it’s a single event.
  2. After the Millennium period, Satan is released from his imprisoning pit, gathers a following and tries to invade the Kingdom. The invasion is short-lived. (Rev. 20: 7-10).
  3. Tim LaHaye, Rapture Under Attack (1998). (I own this book but am basing the quote on a secondary source. Once I locate my copy, I will update this citation if necessary.)
  4. Gordon D. Fee and Douglas Stuart, How to Read the Bible for All Its Worth, 3rd edition (Grand Rapids, Zondervan, 2003), 254.
  5. For more on how Christians read Revelation, see Brian Godawa’s incidentally timed two-part series on the topic, starting tomorrow.
  6. Some try to find a shade of the Rapture in Rev. 4: 1-2, in which a trumpet-like voice calls John to “come up here.”
  7. See also Romans 8 and 2 Corinthians 5 for Paul’s emphasis on the biblical need for humans to live as whole, spirit-and-body beings. And see Rev. 21 for the Bible’s emphasis on the physical (not merely vague and “floating out there”) New Heavens and New Earth.
  8. Even the Rapture view allows for some kind of return to Earth for a millennial kingdom. This later dissolves and is replaced by the spiritoid world of Heaven.

We Might Have Guessed

Many people have been wildly successful in art while showing a flagrant disregard for realism.
on Apr 12, 2017 · 4 comments

If you listen to critics of the arts, teachers of the arts, and even a fair number of actual artists, you will hear many praises of and exhortations to realism. If you examine art, you will find that many people have been wildly successful while showing a flagrant disregard for realism.

A prime example of this is Twilight. (If you were an old, powerful, more-or-less immortal supernatural being, would you be in high school?) However, I am going to focus on Star Trek and Star Wars and their shared violation of realism in everything military. I have chosen this focus because that sort of (un)realism is widespread in fantasy and sci-fi, and also I like Star Wars and Star Trek and have enough firsthand experience of them to write about them.

I once read a detailed critique of a certain Star Trek episode that made a very strong case that, at the end of the episode, three important characters should have been court-martialed. This is how I learned that, in real militaries, staff officers (however senior) don’t take command from line officers (however junior).

But one doesn’t need that sort of knowledge to see that the entire franchise is built around a principle so lethally unrealistic only television can save these people. This is the principle that in any unknown or dangerous situation, senior officers are immediately placed at the point of greatest jeopardy. They routinely round the senior officers up into bands just small enough to be easily ambushed, just large enough to virtually exterminate the senior staff in case of disaster. The Next Generation made a show (hah) of not sending down the captain, except when he really wanted to go, but this did not improve the picture a great deal.

This is Star Trek’s main offense to military realism. There are smaller ones, such as the fact that the Enterprise keeps civilians as permanent residents. Consequently, they are always endangering small children, and you don’t want to think about what’s happening in other parts of the ship while the officers are hanging on for dear life on the violently-shaking bridge.

Of course, Star Trek would not be Star Trek if our heroes didn’t get to do the coolest part of everyone’s job. Star Wars’ offenses to realism are less fundamental, but somehow even goofier. Consider that the Rebel Alliance gives away generalships like Employee of the Month awards. They may give them away as Employee of the Month awards. There is no other way to explain why Han Solo is made a general fresh off the accomplishment of getting defrosted, nor why Lando is a general five minutes after being a shady businessman.

I know: the maneuver at Taanab. But look: No single maneuver will make you a general unless it wins the battle, ends the war, saves several major heads of state, and prevents an invasion of hostile aliens from another dimension.

Another premier example of Star Wars’ unrealistic war is the ground battle on Endor. I like Return of the Jedi better than most, but it is ludicrous that the battle was won by a horde of midget aliens armed with weapons that were obsolete at the founding of the Roman Empire. If the stormtroopers had stayed by the installation and defended it – which was the only reason they were on the moon – it would not have been possible for them to lose. Even when, strangely impelled to be idiotic, they charged into the trees, they should still have carried the day. Superior firepower beats superior numbers any day, and it isn’t possible to defeat professional soldiers with advanced weaponry by konking them with rocks.

Star Trek and Star Wars give every indication of having been written by people with a rather slippery grasp of military matters. That their lack of realism hasn’t kept them from smashing success doesn’t prove that a lack of realism is all right. But it does prove that when people turn to fiction, realism is not terribly high on their list of desired qualities.

We might have guessed.

Geek Survival Guide: How To Cope In The Real World

20 tactics for geek survival. Aka coping in the “real world.”
on Apr 11, 2017 · No comments

The real world can be a scary place, especially if you’re a geek.

Unlike Frodo, we don’t have to deal with hordes of orcs, bone-freezing wraiths, slightly insane allies, tricksey traveling companions, or a sleepless eye of fire scouring the land for our whereabouts.

Our trials take the form of family members, friends, coworkers, fellow students, and people we interact with on a daily basis.

People who, for better or worse, haven’t taken up residence in Geekville. People who could care less about comic cons and cosplay or whose eyes glaze over when you start comparing Marvel and DC films.

Or who—perish the thought—have never heard of Brandon Sanderson.

via GIPHY

There’s nothing wrong with family, friends, and everyone else. I don’t have anything against non-geeks. But sometimes, when surrounded by the uninspiring real world, far from the adventure aboard a spaceship or the perils of a quest, it’s hard to cope.

“Uncle Harry, do you keep a wand in your dresser? Have you been to Hogwarts? What’s your patronus? Wait, you mean you’ve never read…? Okay, never mind.”

Much as it would be great to make Hogwarts our permanent home, we can’t live apart from the world. Well, if you’re a loner or have a particular fondness for barren mountaintops, I guess you could, but a life of solitude isn’t healthy in the long run.

Which leaves us with the difficult but unavoidable fact of living in the real world. If that’s the case, what can we do about it? How, as geeks, do we survive when we venture forth into the uncomfortable environment outside our geek (Bat?) cave?

Here are some ideas I’ve come up with.

Geek Survival Guide for the Real World

Note: sitting in a closet and crying (*cough* Katniss), while tempting, is unlikely to produce significant benefit.

1. When you’re around people who don’t share your geeky enthusiasm, just keep reminding yourself how much you’ll appreciate the next comic con.

2. If feeling particularly down, consume vast quantities of chocolate—and Turkish delight.

3. Don’t be afraid to display your colors. Wear geek apparel with pride so people know where you stand—even if you get sideways glances or raised eyebrows.

4. Have a circle of geek friends whom you can take your sorrows to and commiserate with.

5. Let the story of Sam and Frodo encourage you. Their path was dark but they survived and returned to the comfort of the Shire. What’s a day at the office or classroom by comparison?

6. Keep pictures on your phone of costumes, favorite memes, geek paraphernalia—anything to give you a boost when stuck in the Desolation of Smaug—er, I mean non-geek land.

7. Don’t hold a grudge against the Muggles. They can’t help it.

**Best used with care.**

8. Keep plenty of movie soundtrack CDs in your car that can transport you to distant places while you drive.

9. If you’re a coffee drinker, carry your favorite geek mug wherever you go, thus providing a comforting link back to Geekville.

10. When attending parties or participating in social activities, have awesome quotes ready but make sure they’re relevant to the conversation and easy to understand.

11. Keep an emergency kit handy in case you become stranded. Useful items include but aren’t limited to:

  • Invisibility cloak
  • Lightsaber
  • Sonic screwdriver
  • Susan’s horn
  • Lembas wafers

12.Remember that stories often speak to real life. If you’re in a tough situation, think of how your favorite hero would respond and do the same. Unless it’s Iron Man.

via GIPHY

13. Memorize pieces of Tolkien’s poetry to recite when you need to calm your nerves.

14. Make sure your screensaver at work is a landscape of Middle-earth or some other awesome world.

15. When struggling through the tedious dullness of the day, take heart in the fact that you can watch amazing TV shows like The Flash and Agents of S.H.I.E.L.D. when you get home.

16. Be your geeky self and don’t let social judgments hinder your passion, but at the same time don’t be obnoxious.

17. Watch people for subtle signals—you never know when you’ll stumble into another geek and find a new buddy.

18. Take a few minutes to browse the internet for articles, videos, and posts on Facebook that will drench you in the cleansing waters of geekiness as you trek the dusty desert of the real world.

19. On occasion, wear bow ties. If you’re feeling especially desperate, add a fez.

20. If the pressures of the real world seem ready to crush you, recall to mind Aragorn’s speech before the Black Gate and let it stir you to persevere.

The list is by no means exhaustive, but that should be enough to give you a head start. Good luck on your journeys into the real world.

May the odds be ever in your favor.

What other methods would you use to cope with the real world?

*This post appeared in original form in November 2015 at zacharytotah.com

Sacrifice And Speculative Fiction

Clearly self-sacrifice is a key component in both general market speculative fiction and Christian speculative fiction. But what is it about sacrifice that is so compelling?
on Apr 10, 2017 · 1 comment

This passion week, I think it’s important for us to revisit the subject of sacrifice. After all, there would be no Christian worldview except for the sacrifice of Christ on the cross.

Some time ago a blog post at MBT Ponderers prompted my thinking about self-sacrifice in speculative fiction. In fact the three most recent YA blockbuster series— Harry Potter, Twilight, Hunger Games—featured self-sacrificial heroes. I conclude there’s something to the idea that self-sacrifice is appealing.

C. S. Lewis was particularly good at weaving self-sacrifice into his stories. It, of course, is crucial in the (traditional) opening book of Narnia—The Lion, the Witch, and the Wardrobe. In The Voyage of the Dawn Treader Reepicheep proves to be the person willing to sacrifice himself for others—in this case, to awaken the lost lords. Then Polly and Digory perform sacrificial acts in The Magician’s Nephew.

Interestingly, in this sixth installment of the Narnia books, the antagonist, Jadis, is guilty of annihilating the people on her world to prevent her own defeat—the precise opposite of self-sacrifice.

This quality of giving oneself over to danger or death for the sake of others is key in The Lord of the Rings, too. Gandalf is most obvious—standing against the Balrog so the rest of the Fellowship can escape the mines of Moria.

Of course there is discussion whether or not Gandalf actually died in the battle, but that same discussion took place regarding Harry Potter when he faced Voldemort. Perhaps the actual dying isn’t as important as the willingness to do so.

Which brings up Frodo. He was sacrificial in that he willingly faced unspeakable danger and insurmountable temptation, with no idea that he would survive. Yet he moved inexorably forward. Until the end. His failure and his escape, however, don’t diminish his sacrifice. They make it all the more poignant, perhaps.

The five-book series The Chronicles of Prydain by Lloyd Alexander also utilize the theme of sacrifice. In The Book of Three, for example, Gurgi who is injured, offers to stay behind so those he is traveling with can escape capture. Taran, the protagonist of the story, sacrifices a home in the valley of Medwyn in order to warn others of the impending attack by the Horned King. Ultimately, three of his traveling companions stand to fight the overwhelming force so that Taran can achieve his goal.

More recently in Mary Weber’s The Storm Siren Trilogy both of the main characters, Eogan and Nym, act self-sacrificially, either to save the other or to save the entire Hidden Lands.

Shannon Dittemore’s <a href="https://www.amazon.com/Angel-Eyes-Novel-ebook/dp/B0078FA91U/" target=”_blank”>Angel Eyes series also involves self-sacrifice by the main characters, Brielle and Jake.

Clearly self-sacrifice is a key component in both general market speculative fiction and Christian speculative fiction. But what is it about sacrifice that is so compelling? The easy answer is that it mirrors Christ’s sacrifice, and each of these stories is an echo of the Great Story. But that doesn’t explain why sacrifice resonates with us as readers. Why do readers care that a vampire boy is willing to deny himself for the girl he loves? Or that she is willing to walk into danger to be with him?

Christ Himself said, “Greater love has no one than this, that one lay down his life for his friends” (John 15:13). Do stories of sacrifice resonate with readers, then, for the simple reason that we recognize that great love? Or could it be that we actually desire that great love for ourselves? Isn’t one cry of the human heart to be loved, to be valued at that level?

My instinctual idea is to say that memorable stories include sacrifice and great stories take it one step further—showing sacrifice by the most noble for those less so, thus mirroring Christ’s death for us “while we were yet sinners.” Aslan dying for the traitor Edmund is the prime example.

What are your thoughts? Does a sacrificial character make a story more memorable? Do sacrificial acts connect you more deeply to the story?

This post is a revised and expanded version of one that first appeared here in August 2012.

Fiction Friday: Bellanok By Ralene Burke

With evil darkening the mountains to the north, the fairy queen, Fauna, must journey from the island realm of Bellanok to the modern world to find the man the Creator appointed to save their kingdom. A man she has been dreaming of her whole life.

Bellanok: The Reluctant Savior

An Alliance Award Nominee by Ralene Burke

INTRODUCTION—Bellanok by Ralene Burke

A haven for myths and legends . . . until evil discovers a way in.

With evil darkening the mountains to the north, the fairy queen, Fauna, must journey from the island realm of Bellanok to the modern world to find the man the Creator appointed to save their kingdom. A man she has been dreaming of her whole life.

Brian is a down-on-his-luck pastor on the verge of giving up on God. He’s tired and frustrated–a failure. No sooner does he make a decision that jeopardizes his career than an unusual blonde woman shows up and tries to convince him he is some kind of savior.

Fauna must open Brian’s eyes to a different reality, and Brian needs to embrace the haven’s secrets. If neither of them succeeds, Bellanok will succumb to evil and the world will lose all trace of innocence.

BELLANOK by Ralene Burke — EXCERPT

Fauna coaxed a flower to bloom and leaned in to inspect it. The color was duller. The bright fuchsia had faded to a dingy pink. Another effect of the curse. She pressed her lips together and let her wings pull her away from the plants.

“Come on, Fauna.” Nella gestured for her to catch up. “We are almost to the field.”

Fauna flapped her delicate wings, and the breeze carried her over to her sister.

The same breeze rippled through Nella’s wavy white hair and swayed the trees towering over them. Below Fauna, the grass had begun to wilt, the tips drooping and changing to brown. Why did Father not intervene?

Nella flew on ahead, dodging large bushes and massive tree trunks. Her pink petal skirt twisted around her body.

Fauna was not sure she wanted to visit the field. Rumor had it that her childhood play place had been turned. What that meant, she was not sure. Inside her chest, though, her heartbeat thundered like centaur hooves.

Nella paused at the edge of the forest. A bright light shimmered around her and then disappeared as she shed her tiny form for a much taller version.

Fauna landed on a nearby boulder and did the same. Light swarmed around her. She breathed in the change and then settled upon the rock once again. No longer was it an enormous boulder, but more of a stepping stone.

Without waiting for her sister to say anything, Fauna marched past her and into the field. Dreary flowers hung their heads as she approached. Long grasses swayed with a brisk wind.

Nella followed behind her, her steps swishing in the grass. “It looks so different.”

Beyond the field, mountains stretched to the sky. Menacing clouds hung around the peaks and cast shadows on the field.

Nella ran a finger over one of the forlorn-looking flowers and then let out a deep sigh, dropping her hand to her side. “It’s so sad. I feel like the island is dying.”

Fauna took Nella’s hand and pulled her over to a pile of rocks where they sat side by side. “That’s because Bellanok is dying.”

Nella gasped.

“When the demon entered our protected land, it let death and sin in with it. Now everthing that is happening to the outside world will happen here—unless we find a way to stop it.”

Nella crossed her arms. “We have plenty of capable dragon and centaur warriors to venture into the mountains.”

“yes, but they would not be able to destroy the demon. Not on their own.” A pair of light blue eyes floated through her mind. Why was he haunting her dreams again? “As queen, it is my duty to protect Bellanok. I must seek Father’s will. Right now, I sense that he wants me to leave.”

Her crystal blue eyes widened. “You cannot leave!”

Fauna pulled her sister close. “I do not want to.” Tears stung the corners of her eyes. She could not remember the last time she had cried. Queens had to be positive and uplifting, at least around those they were charged with caring for.

“Fauna, look.” Nella pulled away and pointed behind Fauna to where the tree line met the edge of a mountain face.

She turned to look and gasped. A stunning snow-white unicorn strode into the meadow. It stopped after a couple of steps and dipped its head to graze. Every time its head moved, the silver horn glittered like dew on the early morning leaves.

“It has been so long.” Nella stood and took a hesitant step toward the unicorn. “The unicorns have stayed hidden in the deep forests since the demon found its way to the island.”

Fauna could only stare at the magnificent creature. Every movement—so ethereal.

The unicorn jerked its head up, ears pricked.

Something was wrong.

Fauna stood, surveyed the tree line around them. She did not see or hear anything unusual.

“It is beautiful, is it—”

“Shh.” Fauna held a finger to her lips. Her senses tingled in an unfamiliar way. They seemed to scream, Danger, danger! till, she saw nothing.

The unicorn pawed the ground and pranced a few steps. It swung its head from side to side. It sensed something too.

“Fauna—”

She glared at her sister, who shut her mouth and shrank back. A now-familiar pain started in her chest—one that had only occurred since the demon had slithered into Bellanok.

Something moved in the shadows of the forest beyond where the unicorn sood. It moved, but it did not have shape—no form—like water in the air.

The unicorn shinnied and lunged forward.

AUTHOR BIO—Ralene Burke

Whether Ralene Burke is wielding a fantasy writer’s pen, a freelance editor’s sword, or a social media wand, she always has her head in some dreamer’s world. And her goal is to make it SHINE BEYOND! She has worked for a variety of groups/companies, including Realm Makers, The Christian PEN, Kentucky Christian Writers Conference, and as an editor for a number of freelance clients.

Her first novel, Bellanok, is available on Amazon!

When her head’s not in the publishing world, Burke is wife to a veteran and homeschooling mama to their three kids. Her Pinterest board would have you believe she is a master chef, excellent seamstress, and all around crafty diva. If she only had the time . . .

Why Does ‘Doctor Who’ Need A Gay Companion?

Heroes of different sexual identities can only go so far.
on Apr 6, 2017 · 8 comments

The next companion in Doctor Who will identify as “gay,” and this gives me mixed feelings.

I’m not alone. Breathless reports of Bill’s sexual orientation have been saying all at once: celebrate diversity/this isn’t too important/BEST IDEA EVER/well duh, no big deal.1

Doctor Who showrunner Steven Moffat, who exits the series after this upcoming season, says it’s not a big deal: “Just to be clear, we are not expecting any kind of round of applause or pat on the back for that. The correct response should be ‘what took you so long?’”

But as Doctor Who fans know, rule no. 1 is: “The Moffat always lies.” If they truly thought this weren’t a big deal, wouldn’t the best response to this question be “no comment”?

Anyway, we haven’t yet seen the first story of series 10, which begins Saturday, April 15. This could end up being a few quick allusions before we move on. And the notions of same-sex, bisexual, transgender, or other alien sexual pursuits are not strange to Doctor Who:

  • We’ve already enjoyed the dapper and winsome Jack Harkness, a time agent who “dances” with any sex or species. In series 1, he even kissed the Ninth Doctor on the lips.
  • We’ve wept for a timeline version of Clara Oswald, trapped in/as a Dalek, who briefly alludes to experimenting with bisexuality in series 7. However, Clara Prime in series 8 is solidly in love with her boyfriend Danny—a story with a tragic ending, though it does not quite match the romance of Rory and Amy Williams that also ends in series 7.
  • We’ve encountered lizard-woman Vastra and her human consort Jenny, who share a “marriage” relationship, but one that felt, to excuse the expression, a bit cold-blooded.

However, culture creators will keep trying. For whatever goals (though biblical Christians have our suspicions), the rising religion of Sexualityism2 is at least fashion of the decade. Its influence affects story choices both in esoteric culture and in broader popular culture. In the past years, we’ve seen avatar Korra and her friend Asami hold hands (and get creator-retconned as bisexual), Supergirl’s sister Alex try lesbianism, Gobber from How to Train Your Dragon 2 creator-retconned as “gay” by an actor ad-lib; and most recently, LeFou from Beauty and the Beast also creator-conned as “gay,” resulting in predictable controversy.

Doctor WhoIn a sense, biblical Christians can try to appreciate their Sexualityist neighbors’ enthusiasm. Imagine if we suddenly became the flavor of the decade. Imagine if popular culture began inserting Christian characters into shows, even with little references or praises. It would feel kind of cool. It could even feel like our own religion was similarly on the cultural rise.

But does this kind of religion-insertion truly help to make the story or character better?

What exactly about Doctor Who would change if Bill has same-sex attraction? If we get SSA-related stories, won’t that detract from the stories’ explorations of relatable human themes? And if we don’t, why bother with the change at all? Consider the following options:

Option A: Character gets only a brief mention of Sexualityism.

If as Moffat told the Mirror, we only occasionally hear about Bill flirting with girls or some-such, before we take off into time travel, this makes the Sexualityism gesture shallow.

Imagine you are even loosely affiliated with Sexualityism. Wouldn’t you want more?

Imagine, again, that this is a Christian character. Would you feel cool, or only pandered to?

This is the similar effect of “gay” characters in CW shows, such as Supergirl or Legends of Tomorrow. From Curtis Holt to Sara Lance, you may occasionally meet their “lovers.” But these other characters or the very concept of their sexual proclivities don’t otherwise influence the main plot at all—certainly not as much as, say, Oliver Queen’s romantic relationships, including one with Sara herself. These stories’ central romantic plots show near-exclusive emphasis on traditional male/female relationships.

Option B: Character gets time for own relationship subplot.

When you make your story come second to the promotion of a particular religion—be it Christianity or Sexualityism—the story will almost certainly become weaker.

You’re no longer honestly trying to tell a story. You’re trying to please. Or trying to preach.

I don’t have time to feel drawn alongside the character as a human being if the character, through his/her own choices or the plot’s manipulations, is telling me what to think or do.

In fact, fans even today tend to resist what they feel is an impulse to pander to particular groups, whether different Sexualityism factions or human ethnic groups. Witness the public backlash against Star Wars, Marvel Comics, and Star Trek: Discovery, after some seemingly grandstanding diversity-focused casting decisions. I’ve seen fans even angrily push back against critics of Marvel’s Iron Fist (on Netflix) and Ghost in the Shell (2017), who decided that these shows ought to have cast Asian actors.3

Image was Googled with extreme caution.

In theory, there’s a way around this: by making the character highly relatable. Recently a friend viewed the anime series Yuri On Ice. Its story explores a (male) ice-skater named Yuri who strives to win gold. Meanwhile, he becomes attracted to his (male) trainer, Victor. According to my friend, this show holds the secret to making “gay” relationships relatable and empathetic in storytelling. Yuri on Ice treats these as normal, without a hint of agenda, even while equally portraying and praising traditional male/female romances. But this story puts the characters’ relatability up front and their Sexualityism in the background.

By contrast, Western TV shows seem unable or unwilling to take this approach. From what I’ve seen, if these shows put a “gay” character in the spotlight, it’s always with great fanfare and brass bands and press releases. These creators apparently feel that their privilege, to create fun stories many people want to see, is not enough. For whatever reasons, they seem to want to please the right sorts of people—the fashionable, progressive, and moral Sexualityist people.

Again, this is like a moralistic religion: they seem to want the praise of men, and thus cannot do this “good deed” in secret. Truly, they have received their reward.

The problem is that this strategy could only go so far, even in an anime series. If you’re trying to render a realistic world in which “gay” relationships have always been normal, you can’t zoom in too close or else you’ll see pixels and wireframe.4 How long could this “act like it’s all normal” game keep up? You would need to deny the story’s version of the world any semblance of other religions, or the heritage of exclusive male/female marriage.

Option C: Character is relatable, realistic, and follows Sexualityism?

However, let’s say a story is determined to show 1) a realistic world with fantastical elements included), 2) realistic characters, including “gay” heroes, 3) emphasized “gay” relationships, and all while 4) avoiding propaganda, 5) acting like it’s al normal, 6) keeping this “good deed” in secret, and not broadcasting that the story is Socially Groundbreaking.

That seemingly idyllic approach may still not work for several reasons:

First, if the goal is to show the actual “gay” views of life, you’ve just eliminated one real conflict from this story. Much of their story involves (in their words) the fight for marriage equality and, more recently, the right to identify as your own gender. If the story pretends away the politics, the story has just “appropriated the culture.” All the happy bits and no sad bits, including villains such as Christians or conservatives. That’s sentimentalism.

Second, the story faces an impossible character development dilemma. It can:

  • Eliminate all relationship drama from the “gay” character’s life story. Good result: You show the character and his/her romantic relationships in a positive light. Bad result: You make this person even less relatable to others, because this person is too perfect.
  • Or else deal with this drama outright, including fights and breakups and court battles. Good result: enhanced story realism, because these conflicts do happen to all sorts of people. Bad result: you risk irritation from, or being ignored by, Sexualityism leaders because the story is honestly showing that this religion won’t solve all your problems, regardless of whether their religious enemies are seen.5

Third, the story will soon hit the same problem as with Yuri: the simulated characters will run up against a black wall painted with yellow tape. What happens if your characters want to have a family? Many stories with straight couples avoid these themes because, as with real family drama, these themes take over everything else. Therefore this new story is also blocked from them—and thus the story, again, cannot explore certain scenarios.

Any of these three character options faces challenges per their own stories’ expectations. Notice we haven’t even yet discussed biblical views of sexuality and same-sex attraction.

What should Christians expect?

I’ll close with a few predictions:

  1. We will see more “gay” casting in popular culture. Christians won’t help matters by either raising a row over it, or acting like this is no big deal. Let’s see these for what they often are: story creators’ attempts to have their cake at the fashionable religion’s sacred table, and eat their cake by not actually messing with the characters too much.
  2. For now, stories that actively explore the political and religious conflicts of Sexualityist individuals will have limited influence, similar to the subculture of Christian movies.
  3. Some stories, such as Yuri On Ice, will break the formula and find success. But they’ll be limited to certain genres, including lighter-skewing stories that, by design, aren’t meant to do a lot of moral world-building or in-story deconstruction and philosophizing.
  4. Some stories will take a safe route of having no romantic relationships at all, almost to unrealistic effect. This seemed to be the approach of Rogue One: A Star Wars Story.

For Doctor Who, I’ll predict the showrunners won’t do much real Sexualityism propaganda with Bill. Not even Moffat is such a fool to dispose of the history and expectations of Doctor Who, including its exploration of relatable relationships such as male/female romance, or the Doctor being a man. Beloved stories that have been around this long must follow their own rules consistently. As with the real world, you can only rebel against canon for so long.

  1. See the BBC’s own article, and this one from the Mirror, and this one from The Guardian.
  2. “Sexualityism” is my term for the religion that near-absolute human autonomy, or self-choice, determines how you identify and act both sexually and as a human being. It is a religion with its own self-“deity,” its own anthropology, “fall,” “law,” redemption, and even devils.
  3. Unfortunately this kind of backlash has led and will lead to outright racism and actual hatred. Too many people feel they must fight the fire of sinful Sexualityist religion by resorting to these older and equally nasty sins.
  4. You can get away with other strange-is-new-normal versions of our contemporary world only if you play the strange addition for laughs, as in The Muppets films and TV shows.
  5. This was the approach taken by Marvel’s Jessica Jones, to great effect. Attorney Jeryn Hogarth, attempting to divorce her previous “wife,” shows herself to be a ruthless woman who abuses other people. Even Kilgrave, who has the power to control people’s thoughts, is repulsed by her.

Moral Relativism Doesn’t Wear A Cape

Who can deny the appeal of superheroes? The story of humanity is filled with them, real and mythical. Hercules, Genghis Khan, Joan of Arc, Paul Bunyan, Malala…the list goes on. Every culture in the world has them in some form or another, and they all have the same effect on those who hear their stories. They inspire, they encourage, they motivate, they empower. Sometimes they conquer, sometimes they save. Some build mighty empires, some hear the cries of the weak and helpless.
on Apr 5, 2017 · No comments

Please allow me a moment of shameless promotion. The third short story anthology from The Crossover Alliance had just released, and this year’s theme is superheroes. It’s a great collection of heroic stories that go beyond what you would normally find in a comic book, and I highly recommend it. Now that that’s done, let me segue into the article.

I don’t hide the fact that I’m not a big superhero fan. I’ve always considered myself a “casual” fan, much in the same way that I’m a “casual” Trekkie. I know a little about a lot and a lot about a little, but superheroes never really revved my engine. I’ve been a lifelong fan of Batman and I was also into Spider-Man and Iron Man when I was younger, but that was when it was less “cool” than today, and there were far less entertainment avenues through which to indulge one’s superhero appetite. Nowadays the world seems to be in full geek mode, and while some people are totally digging it, it’s a bit of an overload for me.

Still, who can deny the appeal of superheroes? The story of humanity is filled with them, real and mythical. Hercules, Genghis Khan, Joan of Arc, Paul Bunyan, Malala…the list goes on. Every culture in the world has them in some form or another, and they all have the same effect on those who hear their stories. They inspire, they encourage, they motivate, they empower. Sometimes they conquer, sometimes they save. Some build mighty empires, some hear the cries of the weak and helpless.

The stereotypical modern “comic book” hero usually follows a tried-and-true template: a strong sense of justice, an enemy to fight, a city to save, incredible powers that could easily be used for selfish gain but are instead channeled to combat evil and greed. They are the “good guys,” and while they may sometimes do unsavory things or face moral dilemmas, their hearts and minds are usually in the right place and the people they fight against are always worse than they are.

Copyright Rebellion Developments

I’ve wondered why audiences and fans so readily accept the often blatant goodness of these heroes, who hardly mirror anyone in real life. With today’s rampant moral relativism and rejection of absolute truth, I suspect that the inna te yearning for truth and goodness in every human heart finds a conduit in these characters. Superheroes often fight against personal trauma and demons but their struggle helps the greater good as well, and they readily take on these challenges, even if it means trouble for them. Fans cheer them on as they fight dastardly villains, then go online and argue about whether black or blue lives matter more or which side of the political spectrum is more idiotic. Things are certainly not always clear-cut in the comic book world but the lines in the sand are a lot easier to see and its not too hard to know who to root for.

It seems to me that a character like Judge Dredd is the poster boy “hero” for an atheistic, amoral society. His god is the law. Whom and what he is fighting for and against are very clear to him, and he does not run into many moral dilemmas. If someone breaks the law, he hunts them down and punishes them according to that law. He is not “good” or “bad” – he is simply a tool that dispenses what that society considers justice. I think the dictators of the world would be proud.

The appeal of superheroes is easy to understand from a Biblical worldview. We know there is evil in the world, we want it removed and balanced with good, we want the bad guys to lose, we want to see selflessness succeed and be rewarded. I think the fact that this so often does not happen in the real world shows the desperation this world has for the goodness that our sin natures have stolen from us. While superhero stories may give us some comfort and excitement, we must recognize that they are merely dim reflections of the ultimate battle of Good verses Evil.