Why, when I realize that journalists misrepresent topics that I know something about — such as religious liberty — do I trust them to accurately cover issues that I don’t know much about?
Last time the Superman franchise was rebooted, I reacted pretty negatively to the messiah-lite qualities of Clark Kent’s alter ego. In this fine piece over at Big Think, Peter Lawler analyzes the nature of this tension in the context of the new film quite aptly:
The film also has all kinds of Christian New-Agey imagery that you can grab onto if you’re not much of a reader. Superman is compared in some ways to Jesus; he begins his mission at age 33, for example. But that kind of comparison doesn’t really hold up that well. Superman is only here to help us, not redeem us, certainly not to save us from our sins or from death. And he doesn’t have any deep insight into the meaning of life or love. His life, like each of ours, is shaped by choice and chance. He has extraordinary power that falls way short of omnipotence. He’s a man born to love and die—not a god. Superman’s Kryptonian father predicts that the people of our planet would regard his only begotten son as a god, but that we did not do. We’ve never become so Nietzschean or whatever that we’ve come to think a merely Superman can replace our need for God himself.
I haven’t yet seen Man of Steel, but Lawler’s examination has roused my hopes for the reboot. The imperial dynamics of Kryptonian technocracy look to be a fruitful vehicle for examining salient dimensions of our own experience today.
As Lawler concludes, “Krypton’s inevitable decline and fall is a victory of natural evolution over the effort to provide a conscious and volitional replacement for it. It’s not true that human liberty is defeated by evolution; the truth is that we are ‘hardwired’ for choice and chance and can’t flourish without them” (emphasis added; HT: Prufock).
Sam Gregg’s response to President Obama’s latest invocation of the “my brother’s keeper” motif brings out one of the basic problems with applying this biblical question to public policy. As Gregg points out, the logic of the president’s usage points to the government as the institution of brotherly love:
But who is the “I” that President Obama has in mind? Looking carefully at his speech, it’s most certainly not the free associations and communities that Alexis de Tocqueville thought made 19th-century America so different and alive when compared to his own already state-centric native France. No: Our number-one “keeper,” in our president’s mind, is the federal government.
Or more to the point: Who keeps the keepers?
A few weeks ago I was listening to a very engaging American RadioWorks documentary, rebroadcast from last October, “Japan’s Pop Power.” The show focused on the increasing cultural imports to America coming from Japan, which by some estimations will soon dwarf industries typically associated with American-Japanese trade like automobiles, technology, and electronics. Japan’s economic success is a sure sign that human creativity and inventiveness are more important factors in human flourishing than mere material concerns or natural resources.
Some of the commentary expounded the typical pattern and dynamics of a sub-culture movement becoming mainstream. A great deal of the program focused on Japanese art, film, and media products, including the form of Japanese comic known as manga. Beginning with Mighty Morphin Power Rangers, the growing Japanese dominance of programming oriented toward youth is especially noteworthy (I’m a Yu-Gi-Oh! fan and my wife likes Ninja Warrior).
One portion of the program interested me especially because we have been discussing the importance of narrative here lately. As Chris Farrell and John Biewen spoke with an American teenager, it became clear that in part what draws our youth to contemporary forms of Japanese storytelling, beyond the inherent exotic elements, is the disjointedness of the narrative. It’s often a challenge to figure out who the main characters are and what they are doing. Some of the attraction is no doubt the mental agility that is required to induct a logical flow from the sometimes confusing morass.
But on another level, the attraction is undoubtedly a reflection of a post-modern mindset, which isn’t so concerned with logical plot progression. Japanese shows are renowned for their emphasis on glitzy effects, explosions, and action (oftentimes at the expense of sanity) such that they’ve become a staple of American parody:
It’s always a challenge for Christians to determine when and how to engage cultural movements. Some businesses and industries are without a doubt beyond the realm of moral permissibility, and the Christian is barred from licit participation. The message to those who are involved must be only, “Go and sin no more.”
But other times keen discernment is called for, and Christians at different times and places have come up with very different answers about how to engage the broader culture. At some point soon, for instance, we’ll look in more detail at the Christian Reformed Church’s synodical reports from 1928 on “Worldly Amusements” and from 1966 on “Film Arts.”
One approach I’m familiar with in a professional capacity is the attempt by some Christian publishers to transform the manga genre into something that is a positive and constructive influence, conducive to Christian piety, rather than one that celebrates moral depravity (for which manga is infamously renowned).
Zondervan, for example, has newly available a number of new manga series aimed towards youth or “tweens” audiences (full disclosure: I provided theological review services for a number of these products). On example is a series that follows the fictional exploits of Branan, the son of the biblical judge Samson. Other series follow a team of time-travelling flies and relate the biblical narrative in the form of a Manga Bible (the latter produced by a Korean author/illustrator team).
Whether such ventures are judged to be successful depends on the standards applied by individual Christians. No doubt many will be thankful for offerings in a pop culture genre whose contents are sincerely counter-cultural.
What is certain is that there is no better place to address the needs for a new generation of readers eager for meaningful narrative than to rely upon mythopoeia and, indeed, the greatest story ever told, the “True Myth,” the biblical drama of creation, fall, redemption, and consummation.