The Content We Consume (Part 5)

"Man Writing" by Oliver Ray

Today I conclude the series on responsible content consumption. After a summary of the previous four parts, I'll briefly look at some examples. I am indebted to my friend for his help in developing this content.

General Principles

In Part 1, I looked at various Scriptures as background and guiding verses for this topic (those include Philippians 4:8, 1 Corinthians 10:23-32, and Romans 14). I offered this a framework to determine value of a given object, condensed here:

1. Is it true?
• Truth involves both knowledge and wisdom. Knowledge is provable information (or 'propositional truth'). Wisdom includes principles, beliefs, and other things that can be verified empirically (through observation and experience). Note that the latter can be delivered in a fictional vehicle.
• As we look at a given object, we must discern the message(s) it is proclaiming, and each must be examined to see if it is true, either in knowledge or wisdom.
• All truth is God's truth. We are all made in God's image and therefore carry attributes of Him, even if we do so unknowingly (or have corrupted images due to the fall). There may be truth in specific actions and words of others even if their overall lives may not align with our convictions.
2. Is it good?
• Truth is the start, but not the end. There are many facts about the evil in this world; we shouldn't focus on nor celebrate those. 
• As we look at a given object, we must discern the goal or intent of it- and whether it is good. It may be simple appreciation/enjoyment, to deliver knowledge or develop skills, to enable social interaction, or to deliver a message.
3. Is it edifying?
• What is true and good is eligible to be edifying, but that does not inherently make it so. Ultimately, it comes down to the fruit that results from consuming it.
• What is edifying/fruitful to one may not be for another, depending on their respective strengths/weaknesses, age/maturity level, or current state. If it tempts you in some way, it should be avoided.
• It is possible for something to be partially edifying- partially true and partially good. We must weigh the benefit to the cost- the good to the bad- to determine how to proceed.

Creativity

In Part 2, I explored why we create art, perform musicals, make movies, write books, or do anything like this in the first place, and then zeroed in on fiction. I concluded:

We are creative creators because we reflect the Lord's attributes, which we see in His world and His Word. Fiction is one facet of this, producing works of art that may not have 'fact of' truth but contain a wealth of wisdom. So as we wrestle with what content is suitable to consume, we should not ignore the power and beauty of fiction.

On Fantasy

In Part 3, I focused on fantasy, the genre of fiction that includes fantastic abilities and supernatural elements, generally set in a completely different world defined by the author. 

I provided varous definitions of fantasy and highlighted that it is not tied to reality or fact. I then focused on its value, emphasizing its ability to convey wisdom through creating imaginary worlds and using them to convey powerful truths unencumbered by our real-world biases. 

I looked at magic in the Bible, concluding that calling on the supernatural is perfectly fine if it is God and absolutely forbidden if it is not- it all comes down to the source. I then argued that magic in fantasy works is part of the creative element and not necessarily making a statement about magic in the real world at all. When judging the magic system in a fantasy work, what matters is the source and intent.

I concluded by looking at religion in fantasy, where I argued that the fantasy writer is under no obligation to create a world with a religion like ours (or at all). And that should not scare us- the point of such stories is to convey specific wisdom, not all wisdom. We shouldn't look to fantasy for a systematic theology. It comes down to the author's messages, goals, and intent.

On Tabletop Games

In Part 4, I focused on tabletop games, which I define as "a competitive activity whereby participants engage a closed, formal system to overcome a challenge using skill and/or luck." Because games are closed systems, taking actions in a game is not the same as doing that action (or condoning it) in real life. 

We play games for mental exercise, social interaction, and entertainment. The themes in most games are there for flavor or to aid comprehension, and there is seldom story in a game. The goal and attributes of games mean there may not be a message (truth or wisdom) in the game. That said, there may be messages in the win conditions, and multiplayer games have a political/psychological component that can reveal our hearts.

Examples

Throughout these posts, I've tried to emphasize that we need humility, wisdom, and discernment as we evaluate content. We should neither turn our brains off (and assume all is okay) nor be quick to judge (and assume it is not). 

I now turn to four examples. Because fantasy in particular can be so controversial, the below are all in that vein.

The Lord of the Rings

We'll start with an easy one. J.R.R. Tolkien had a hugely influential role in the fantasy genre with this work. I mentioned the cogent points in part 3: Tolkien's work was consciously religious and yet he despised allegory. He once wrote: "That is why I have not put in, or have cut out, practically all references to anything like 'religion', to cults or practices, in the imaginary world. For the religious element is absorbed into the story and the symbolism." There is magic, fantastic creatures, and terrible fiends here. There is clear good and evil, and worthy themes like friendship and self-sacrifice. These books (and the movies based on them) are full of wisdom and remain some of my favorites. Check out my main page on the topic for more commentary and book/movie reviews.

Harry Potter

The Harry Potter series is one of the most popular of all time. Yet J.K. Rowling's tale of "the boy who lived" has seen quite a bit of controversy, and the books have been banned in several countries. Some Christians oppose these works for the magic in them, arguing they are turning kids to witchcraft. Others oppose them because it is an example of children having to save adults. And some are upset because there is no mention of God. The wikipedia page dedicated to religious debates over the series is a good overview.

I've read the books and find them excellent. I agree with Erik Raymond, who says:

What do we have in the Harry Potter series? We have an enemy who threatens to destroy as he pushes his wicked agenda. We have a hero character who seems unlikely and weak, yet uniquely powerful and driven. He is characterized by self-sacrifice, mission, the honor of his parents, vindication of good, and friendship. He is willing to sacrifice himself for the benefit of others and the defeat of evil. Potter is called the chosen one who fights the evil one and must ultimately defeat death.

The From Homer to Harry Potter book also makes some good points about the series (and many other fantasy works). Overall, I find the series edifying for its primary moral messages- especially self-sacrifice. And remember that fruit matters: the biggest contribution I believe Harry Potter gave us was making people (kids and adults) love reading. That is powerful indeed.

Regarding the opposition by some Christians, I would say the following:

- on magic: like Tolkien and Lewis, Rowling's world makes no attempt to be realistic. The magic system shown is not drawing on the supernatural at all (per my argument in part 3 of this series). Per Christian writer Stephen Graydanus (quoted in the religious debates article linked above): "If anything, the magic in Rowling's world is even more emphatically imaginary, even further removed from real-world practices, than that of Tolkien or Lewis; and, like theirs, presents no appreciable risk of direct imitative behaviour." Rowling herself has repeatedly denied encouraging kids to practice witchcraft and believes the charges ridiculous, and has pointed out Christian themes she deliberately placed in the series (again, see the religious debates article). 

- on children saving adults: I argue that Harry Potter shows the children both powerful and weak- both reaching out to do things on their own (without adult knowledge or consent) and yet also relying on those adults in times of trouble. The series portrays Dumbledore and others as being wise and worthy of confidence- both kids and adults have value and roles to play here. 

- on no mention of God: this is frequently true in fantasy works- see Lord of the Rings. As I stated in part 3, the fantasy author doesn't need to re-create true religion in a fake world. Instead, they use a fake world to illustrate specific examples that can inspire us in the real world . . . and I believe Harry Potter does this.

A Game of Thrones

This wildly popular television series is based on the best-selling fantasy books by George R.R. Martin. I read the first book 20 years ago, long before it hit the screen. Martin writes well, providing an engrossing world and engaging story. And yet . . . looking through our list of questions (good/true/edifying), AGOT falls flat. This series lifts up power and control as the ultimate thing; it is what the major houses vie for, without ever making value statements about so doing. That message is neither true nor good. There is no higher purpose or noble ideals that I recall, either. That's one problem, and there is another: both the books and television series are full of sexually explicit material. I agree with Kevin DeYoung and John Piper; I don't see enough value here to justify consuming this series (in either form). Any good elements are overwhelmed by the bad.

Magic: The Gathering

This trading card game launched a new industry in 1993: the collectible game industry. Here, you take the role of a 'planeswalker' (a wizard-like character), and build a deck of cards (your 'spells') to go against your opponents. I introduce the game here and started a separate blog to explain/explore/enjoy it here.

Collectible games differ from traditional tabletop games and resonate with us because they (perhaps uninentionally) hit on some greater truths, including creation, diversity, progressive revelation, and synergy. I did a presentation on this category of games a few years ago; the transcript is here.

Like Harry Potter, Magic has come under fire from some Christians. Ultimately, I believe the concerns are ill-founded; it's not at all about doing magic or practicing witchcraft. Magic is a card game invented by a mathematician (he talks about it here and the New Yorker covers it, too); astute observers will note it features "combinatronics, specifically, the hypergeometric series" (source), and game theory in it has been much studied (see here). It is ultimately a strategy game with generic fantasy themes, from Greek mythology to Germanic fairy tales to other tropes. The main site states the game's mission: "have fun while bringing people together." It is edifying in the mental exercise that comes with creating and playing a deck, and is a wonderful way to gather with others and enjoy the weird and creative combinations in the decks that people construct. 

The big danger of Magic, as I see it, is not in the theme but the overall concept of a collectible game. It is addictive and expensive. You may have seen the joke: "Get your kids into Magic. They won't have money for drugs." That is true. I've had several friends refuse to play on these grounds- they know they are prone to addiction and need to stay away. I respect that.

Conclusion
I'll conclude with a thought from my friend: "If some media (boardgame, video game, movie, etc) fills our mind with sinful images, creates sinful emotions or desires, or distracts us from giving proper attention to God, then that media should not be consumed." Distracting us may be the category we ignore the most, but is very important. Even good things can become bad things if we make them the ultimate things. "Above all else, guard your heart, for everything you do flows from it" (Proverbs 4:23)

The content we consume should be edifying, which means it will be true and good in some way, be it in message or goal. Christians will disagree as to what qualifies as acceptable, and that is okay. In such cases, we must remember Romans 14, and look to love both the one who consumes and the one who abstains. Humility, wisdom, and discernment are key.

America: A Narrative History, Vol. 2 (Shi & Tindall)

America: A Narrative History, Volume 2, is a survey of United States history from Reconstruction (1865-77) to 2014. I read the "brief tenth edition," which is 20% shorter than the regular tenth edition.

I read volume 1 a few months ago. As I mentioned in that post, I was looking for a 'fair' survey text as free from agendas as possible, and the first volume did pretty well. Volume 2 is much the same. This is largely a political history, but covers some social aspects. The few events with which I was previously familiar were decently presented. And- as an aside- it was bizarre to see decades in print that I have lived through. (I'm getting old.) Of course it is a whirlwind, but overall, I think the authors did a good job with this textbook. It was clear, informative, and pretty fair. Recommended.

I'll end with some concluding thoughts on America as presented in the text. They argue that one of the most powerful themes in America's history is that we are "a mythic land of unique opportunities for people from around the world." Indeed, our story is one of great success- but also hypocrisy. We champion liberty for all but have a history of discrimination against a variety of peoples. We must always be reforming, looking at how to improve and become a more just society. Impressively, "for all its diversity and divisions, the nation remains united under a common government and political system, something that few societies can claim. For centuries, Americans have also displayed a distinctively self-critical temperament, espeically noticeable to foreign visitors . . . Charles Dickens said that the American 'always is depressed, and always is stagnated, and always is at an alarming crisis, and never was otherwise.'

"Perhaps that is why the nation always overcomes its greatest crises; Americans eventually summon the will and creativity to address their urgent problems. The nation has a remarkable genius for self-renewal and a confident ability to maneuver through the most difficult threats and challenges," for what unites and informs our sense of purpose is "the widely shared hope, even expectation, of a better future for all based on hard work, ingenuity, and sacrifice."

Rating: A-

The Content We Consume (Part 4)

"Man Writing" by Oliver Ray

Today I continue the series on responsible content consumption. Last time, I looked at fantasy. Today I focus on tabletop games. Games differ from other content we consume (books, movies, etc.) in two main ways:

1) we are active participants in a game, making decisions that determine the outcome, and

2) games may not have a theme or story, meaning they may not contain messages (truth or wisdom) like other types of content. They serve a different purpose.

We'll look at these things (and more) below. 

Defining Games

What is a game? I look at this in a previous post. There, I suggest:

A game is a competitive activity whereby participants engage a closed, formal system to overcome a challenge using skill and/or luck.

It is important to understand the concept of a "closed, formal system." 

- Formal means that games are governed by rules, included in the game, that spell out the goal of the game, turn structure, win conditions, possible actions, and other formal elements. Like fantasy, rules are created by an author and not necessarily aligned with rules (or values) in the real world: it may be possible to do something in a game that is impossible, illegal, immoral, or unwise in the real world.

- Closed means the real world is unaffected by our actions in the game. Doing something in a game is not the same as doing so in real life, nor does it imply that you approve of such action in real life. That property you buy (in Monopoly) is not happening in real life, invading Russia (in Risk) is not invading Russia in real life, etc. Theme can matter- see below- but like fiction/fantasy, we are invited to enter an imaginary world when we play a game. We may do something in a game we would/could never do (or advocate) in the real world.

Why We Play

We play games for many reasons. I cover some in this post and on my games overview page. But overall, most people play for mental exercise, social interaction, and entertainment:

- mental exercise: games work our mind, teaching us the basics of strategy, decision making, proper planning, and more

- social interaction: games enable gathering, teamwork, and quality time with friends and family; gaming buddies have a special place in my heart.

- entertainment: because it is a closed system (which enables the impossible or the unwise), hilarious things can happen in games. The closed system enables us to do things and explore areas we wouldn't (and shouldn't) in the real world.

We've been playing games for centuries; there is a lot of good in games, and they have exploded in popularity in recent years because of their value. The important thing here is to understand that the goal (or message) of most games is not to convey truth or wisdom, but to enable mental exercise, social interaction, and entertainment.

Themes and Stories in Games

Most (but not all) games have a theme or 'conceit.' Abstract games have none (think tic-tac-toe or checkers), but most others have some degree of thematic elements. Sometimes, the theme is just 'pasted on'- an obvious afterthought that has no bearing on gameplay. Other times, the theme is more intricately tied to the rules, trying to represent or even simulate something in real life. To measure how realistic a game is, we turn to game theory.

The field of game theory is young, but Characteristics of Games (by Elias, Garfield, and Gutschera: hereafter EGG) proposes a spectrum with ten possible levels of abstraction (or "Scale of Intensity for Conceits," as they put it). I won't reproduce their entire chart here (see page 215), but we can group their ten levels into four. They argue that games range from purely abstract to full-on simulation:

1. Purely abstract

2. Theme only ('pasted on'; no bearing on gameplay)

3.-5. Various degrees of conceit (the theme is somewhat tied to gameplay, but not realistic)

6.-10. Various levels of simulation (the theme is very tied to gameplay, attempting realism)

When playing a game, having a general idea of where the game falls on the above scale is helpful. And it is often pretty obvious. Generally, tabletop games fall into the level 1-5 range, meaning they are not realistic and we do not expect them to be. Levels 6-10 are more often seen in video games because a computer is recommended (or required) to model the complexity a realistic simulation demands. The realism in those games can require (in my opinion) special scrutiny. We're focused on tabletop today, though, so back to them.

Most tabletop games have themes 1) to give them flavor- to make it more than an abstract experience- or 2) make them easier to learn and play. The latter is important. Chess (towards the abstract side) still has names like King and Queen, Knight and Pawn, pointing back to the origin (and theme) of the game. We could easily give them names unassociated with royalty or Medieval roles, or anything in the real world, but it is simpler to identify them using words we already know. "Note that very generic conceits, ones that are in the public domain or are at least well known to the players, provide to the players a lot of information about how to play the game." (EGG) If we have a game that features dragons and goblins, we would expect the former to be stronger, for example. Neither are real, but we know from common stories what to expect in a general sense. They go on to say that "abstract games need to have very simple rules [to be successful]," for the very reason that we better grasp concrete examples.

Similar to theme is story. Most tabletop games do not have them, for the very reason that we are active participants in the game, and thus affect the outcome. Video games are more likely to shepherd you through their experience with cut scenes and other elements that convey you are part of a story. Tabletop games, on the other hand, may have a cursory nod to an overall narrative, but it is rarely essential and often omitted entirely.

My point here is that many tabletop games are not trying to push anything with their theme- no message conveying truth/etc. That said, it is never bad to check: consider the theme of a game and look for anything beyond flavor. Is the author of the game trying to push a story, message, or agenda of some sort? 

Win Conditions in Games

We strive to win the games we play. Though games may not have messages inherent in their theme or story, they may be present in the win conditions, which can mirror a culture's values. A few examples:

- Monopoly. Here, you are land owners managing properties. That game originated as a way to teach people about the evils of monopolies. The problem is that you win the game by creating a monopoly. Here, the win condition sends the message at odds with the author's intent- "succeed by monopolizing resources." (And, as an aside, reveals exactly why monopolies exist in the real world- because people profit from them.)

- The Game of Life. From an earlier post, the Game of Life started in the 1860s "as a highly moral game . . . that encourages children to lead exemplary lives." In today’s iteration, the person with the most money (assets) wins.

- The Acts. A Christian boardgame, the point is to grow the church in maturity and numbers as quickly as possible. 

Even if the themes are fine in themselves, the win conditions of a game may send a message. In the game world, there are broad categories that are insightful of the cultures that produce them: "American"-style games are dog-eat-dog, where one wins by destroying others. In "Eurogames," on the other hand, players win through efficient resource management. So consider if a message is in the win condition, and if that message is intentional or unconciously representative of our culture.

Politics & Psychology in Games

There is also a political/psychological component to games- the way players engage the game, and others players in it, can reveal our hearts. This is especially true in multiplayer games, where alliances can be made (and broken), and different roles arise as games progress (like "kingmaker," where a player may not be in position to win but decides who does). Not inherently good or bad, it is nevertheless insightful, and one way games can be valuable. How we play can show what we value.  

Taking Sides

Sometimes a game's theme will mean there is a 'bad guy' side or role. If you're playing Axis & Allies, someone has to be the Axis powers. And some multiplayer games require a player take on a bad guy role- a robber, traitor, monster, or the like. In all cases, I hope it is obvious that the player who plays the bad guy side or role is not inherently (say) a Nazi sympathizer, robber, traitor, or monster in real life. 

This points back to the fact that 1) games are a closed system and 2) people play for mental exercise, social interaction, and entertainment- not to proclaim or deny a given truth. Sometimes, a person has to play the bad guy for a game to happen.

Guidelines for Consuming Games
Our basic questions do not change for tabletop games; we still ask is it true, is it good, is it edifying? Just remember that:

- games are closed systems; taking actions in a game is not the same as doing that action (or condoning it) in real life. And someone has to be the bad guy.

- we play games for mental exercise, social interaction, and entertainment. As such, we should focus on the 'is it edifying' question.

- the theme of a game is probably not intended to be taken seriously (as a simulation of something in reality). The themes in most games are there for flavor or to aid comprehension. And there is seldom story in a game. These two attributes mean there may not be a message in the game- truth or wisdom. That said, there may be messages in the win conditions. 

- multiplayer games in particular have a political/psychological component that can reveal our hearts.

As always, we need humility, wisdom, and discernment as we approach things.

Next week, I plan to conclude this series by tying this all together and looking at examples.

Star Wars: The Clone Wars

Today's review is of the 2022 release, Star Wars: The Clone Wars. For 1-5 players, it takes 60 minutes.

Overview

You are all Jedi during the Clone Wars, trying to complete missions and fend off waves of droids, blockades, and a primary villain. Do you have what it takes to prevail?

To start, you each choose a Jedi (each has a special ability, granting a free unique action), choose a villain to face (there are four; each has a villain card with unique abilities and a 6-card villain deck), randomly choose [x] mission cards (the number determines difficulty), place droids and mission tokens as indicated in the rules, and draw cards to form your hand (which is played face up on the table). Then, the game begins with the following turn structure:

1. Ready cards (untap all tapped cards in your hand)

2. Do 4 actions (move, attack, draw cards, and/or complete missions)

3. Activate villain (activate special abilities on their card, then draw 1 card from the villain deck and do what it says)

4. Invade planets (draw a number of cards from the invasion pile corresponding to the invasion level and place 1 droid on each corresponding planet)

Turns proceed in clockwise order. When all missions are completed, the villain card is flipped, showing rules for the finale. Complete that and win!

This is a game in the Pandemic line, so its structure (or game engine) is very similar to the original. Some differences in this variant:

- there are no 'outbreaks' [of droids in this case]; instead, a planet is 'blockaded' and the threat marker is advanced

- you roll a die to attack droids or complete missions; hits/successes help you advance, but you can also suffer damage (which makes you discard one or more cards)

- your cards (shown face up on the table) have generic categories that dictate their use. They can be tapped once per round to add to the value of the attack/mission die roll, help you move, or defend against damage

- there is an overall villain (Asajj Ventress, Maul, Dooku, or Grievous) that you may remove throughout the game (there are benefits to doing so), but they will come back and you must defeat them at the finale to win

game in progress; image from here

Review

I'm a huge fan of the Pandemic game engine, having reviewed four games modeled on it to date: Pandemic, Fall of Rome, Iberia, and Reign of Cthulhu. In general, the cooperative aspect is fun and the 4 actions grants meaningful decision making- a key to any good game. So how does this variant compare?

In short, this is solid. We played two games on easy mode (meaning you had to complete only 3 missions before you reached the finale), and it was quite easy. I like the variations available here- plenty of mission cards and four villains, combined with the other standard randomizing mechanisms in all Pandemic games, makes for a different experience each time.

Rating: A

The Content We Consume (part 3)

"Man Writing" by Oliver Ray

Last week, I looked at creativity and fiction, arguing that both are expected (and good) results of being made in God's image. Today, we focus on fantasy, which has come under scrutiny from some Christians over the years, generally due to the presence of magic in such tales. 

Defining Fantasy

Broadly, fiction is anything that did not happen. Fantasy is a sub-genre, and is anything that could not happen (based on what we know of the world, and without divine intervention). There are different levels, from something set in our world but with elements (creatures, objects, or powers) that do not exist, to something set in a completely different world. Three other definitions:

From MasterClass: 

Fantasy is a genre of literature that features magical and supernatural elements that do not exist in the real world. Although some writers juxtapose a real-world setting with fantastical elements, many create entirely imaginary universes with their own physical laws and logic and populations of imaginary races and creatures. Speculative in nature, fantasy is not tied to reality or scientific fact.

From Brandon Sanderson, in his reading and activity guide included in Alcatraz Smedry vs. the Evil Librarians:

Fantasy is a literary genre that often includes:

- Characters who are magical, are inspired by mythology, or have special powers.

- Settings that include unexplored parts of the known world, or new and different worlds.

- Plot elements (actions) that cannot be explained in terms of historical or scientific information from our known world.

From J.R.R. Tolkien, in his essay On Fairy Stories: 

fairy-stories as a whole have three faces: the Mystical towards the Supernatural; the Magical towards Nature; and the Mirror of scorn and pity towards Man.

Tolkien's thought is intriguing, and requires more definitions. I take these from different dictionaries based on the definition I feel most accurately captures what he is saying:

- mystical: "inspiring a sense of spiritual mystery, awe, and fascination."

- supernatural: "attributed to some force beyond scientific understanding or the laws of nature."

- magical: "of, relating to, or having special powers to make things happen that would usually be impossible"

From these definitions, I highlight that fantasy is not tied to reality or fact, so it has elements "that cannot be explained in terms of . . . information from our known world," and it captures a sense of mystery and awe towards the supernatural.

The Rise and Value of Fantasy

In From Homer to Harry Potter, Matthew Dickerson and David O'Hara (D&O) discuss the genre's rise as a reaction against the Enlightenment, which downplayed or denied the supernatural in its focus on science and rationalism. 

D&O's work has wonderful insights into the value of fantasy (too much to summarize here), but we can say a few things. Like all fiction, fantasy's value lies in teaching wisdom (eternal truths not tied to a specific time, event, location, or object). The elements in fantasy as a genre are helpful for doing so in at least two respects:

- in creating an imaginary world, we start with a 'blank slate' where authors can create stories apart from (or highlighting) our biases. We leave our preconceived notions at the door- or are confronted by them- as we're presented with a completely new setting.

- the supernatural elements of fantasy remind us that there is more to this world that we can see, comprehend, or control. It reminds us that not everything is natural, discoverable, or controllable. Some things are above and beyond us. This in turn points us to humility, mystery, awe, and a greater purpose. It can also reinforce "a biblical emphasis upon a symbolic perception of reality." (from here)

C.S. Lewis and J.R.R. Tolkien both recognized the genre's value. It is telling that these two Christians played a formational role in the genre. This article has some good points; Lewis argued that "by casting all these things [the truths of the Gospel] into an imaginary world, stripping them of their stained-glass and Sunday school associations, one could make them for the first time appear in their real potency." Indeed, fantasy and "Myth, at its best, is both a distant view into the whole and a close mirror of the personal." (D&O)

There is a lot of potential here for some amazing stories. But the supernatural element in most fantasy is portrayed through the use of magic. How do we handle that?

Magic in the Bible

From Google/Oxford, magic is "the power of apparently influencing the course of events by using mysterious or supernatural forces." The Bible is chock-full of magic (Bible Gateway has an outstanding summary) and is clearly against the use of magic in the real world:

There shall not be found among you anyone who burns his son or his daughter as an offering, anyone who practices divination or tells fortunes or interprets omens, or a sorcerer or a charmer or a medium or a necromancer or one who inquires of the dead, for whoever does these things is an abomination to the Lord. (Deuteronomy 18:10-12a)

But as for the cowardly, the faithless, the detestable, as for murderers, the sexually immoral, sorcerers, idolaters, and all liars, their portion will be in the lake that burns with fire and sulfur, which is the second death.” (Revelation 21:8)

Why? Simplistically, there are two supernatural forces working in the real world: God and His angels, and the devil and his demons. Since magic in the real world is trying to bend things to our will using supernatural means, there are only two possibilities: 1) we're using God to do so, or 2) we're using evil. 

Asking God for His supernatural aid is not only acceptable but commanded. Beseeching God to help us can look a lot like magic- see Exodus 7:8-12, where (at God's command) Aaron casts his staff down before the Egyptians and it turns into a snake. The Egyptians answer, doing the same thing by their dark arts . . . and then Aaron's snake swallows theirs. To the onlooker, both would look like magic; the key is the source. There are many other examples of this in Scripture, like Samson asking for God to grant him supernatural strength in Judges 16:28-30, or any of Jesus's miracles (like calming the storm in Mark 4:35-41).  God intervenes with His supernatural- and good- power all the time, and that can be to answer a human's request for aid. Thus the Bible isn't condemning the supernatural in principle; it is condemning evil sources of it. We conclude that the Bible's calls against magic are clearly against beseeching (or trying to control) evil supernatural powers to intervene or empower us. 

Magic in Fantasy

As we think of magic that appears in fantasy fiction, we must consider two things: 1) the system/source and 2) the intent. 

Remember that the problem of magic in the real world is its source. The fantasy writer, in contrast, has created a different world with different rules- which includes how magic works and its source. (Recall that the genre is not tied to reality or fact.) The 'magic system,' as its commonly termed in the genre, varies by author and is part of the creative element. It is not (necessarily) making a statement about real magic at all.  

The source of magic may not be revealed in a work, but presented as a fact of that imaginary world without further explanation. In that case, we must determine the intent- how and why the author has designed the magic system. What is the author trying to achieve by including magic? What purpose is it serving? I can't be exhaustive here, but a few possibilities:

- The magic may not be supernatural at all, but simply something the majority in the story do not understand (or cannot see or control themselves) and thus view it as supernatural. 

- It may be there to show that some people's gifts are not just in physical or mental areas. We can be gifted in ways hard to explain or teach; fictional worlds may replicate that through a magic system.

- Authors may use magic elements to replicate technologies that exist in our world. Fantasy is often set in worlds without guns, cars, medicine, phones, and the like. Sometimes the magic in fantasy is a simple substitute for things we take for granted today- the ability to communicate (or travel) over vast distances quickly, the power to heal or harm, etc. 

- the magic system may be a neutral source of power, capable of being wielded by a gifted subset of the population for good or evil. It may be inserted to aid character development, plot progression, or point us to the general truths about the purpose and use of power.

In most fantasy I've read, the source itself is usually not the issue, nor is the author's intent malign. The focus is generally on what characters do with the power granted to them. You will know if a given magic-wielding character is good or not by their fruit.

I conclude that having magical elements in fantasy fiction is not inherently wrong- it is not necessarily based on evil sources, but on how the author defines the magic system and why it is present in the story. We shouldn't turn off our brains and assume all is okay, but neither should we dismiss any use of magic in fiction as malevolent. We need humility, wisdom, and discernment. 

Religion in Fantasy

The fact that fantasy is separate from our world raises another question- what about religion? The above argument about magic holds here, too; the fantasy writer is under no obligation to create a world where religion looks like something we recognize in the real world. And that should not scare us- the point of stories is to convey specific wisdom, not all wisdom.

Tolkien's work was consciously religious and yet he despised allegory. He once wrote: "That is why I have not put in, or have cut out, practically all references to anything like 'religion', to cults or practices, in the imaginary world. For the religious element is absorbed into the story and the symbolism." His stories convey specific sets of truths but not all truths. And so it is with most writers. We should never look to any fictional work, let alone fantasy, for a systematic theology that creates an equivalent to everything we find in the Bible. That isn't the point of such stories. Again, we remember Jesus and His parables- each was to convey a specific point of wisdom. None were exhaustive recaps of all truth. "In other words, fairy tale is not a place to deny the supernatural, but neither is it a place for systematic theology of pilosophy of religion . . . we should not look to them for that." (D&O)

Wisdom- timeless truths- generally focus on who God is, who we are, and the relationship between us (or what is expected of us). Some fantasy stories will focus on one category or another. I did a series of posts (here, here, and here) on the wisdom I saw in the Lord of the Rings movies. There is an awful lot there . . . but it by no means comprehensive. Nor should it be. Those stories say a good deal about man but very little about God. They still illustrate powerful truths, and ultimately point us to God when we more deeply see who we are as man. We come to the place, as Tolkien intends, where we view man with scorn and pity and are ripe to realize our need for a Savior.

Guidelines for Consuming Fantasy

Ultimately, our basic questions apply to fantasy: is it true, is it good, is it edifying? Just remember that:

- 'is it true' applies to wisdom and not propositional truth

- we should not expect a fantasy tale to re-create all wisdom, but to convey specific timeless truths

- fantasy is a different world, defined by the author, and so we should not necessarily associate any magic or religion that we see in a fantasy world with a real-world equivalent. We must understand the rules of that world and intent behind them. This points us back to the message(s) and goal(s) of a work, as discussed in part one.

I'll end with some links to other Christian perspectives on fantasy:

- from the Gospel Coalition, on the theology of fantasy in Lewis and Tolkien

- from Kingdom Pen, on magic, fantasy, and the Christian writer

- from Medium.com, on if it is wrong for a Christian to consume fantasy

Next week, I'll continue this series by looking at tabletop games.

The Rings of Power: Season 1

It is the Second Age of Middle Earth. Galadriel believes Sauron, long-missing servant of Morgoth, has returned and intends to invade. As she tirelessly tracks this perceived threat, she meets Halbrand, the rightful (but fleeing) king of the Southlands, and their journeys take them to Numenor, a powerful island kingdom who was once strongly allied with the Elves. Convinced that Sauron will strike soon, she works to enlist both parties in her quest. 

Elsewhere, a mysterious stranger has fallen from the stars. The Harfoots- precursors to Hobbits- find and take him in. They know nothing about this strange being, other than he has tremendous power but seems unable to communicate. Will his presence spell fortune or disaster for this nomadic people?

The power of the Elves is failing. When Elrond discovers through his friend, Durin, that the Dwarves have discovered mithriel, he believes their salvation may be at hand. But will Durin's father, the King, agree to trade with his traditional foes? And what will the Elves do if he doesn't?

--------

Oh. My. Goodness. Three episodes into this eight-show arc, I blogged about my initial thoughts. My enjoyment only increased, and I must amend some criticisms (but keep them secret to avoid spoilers). Overall, I was extremely impressed. It started slowly, but really picked up steam, and the season finale was overwhelming. In addition to what I mentioned previously, I like that it:

- maintained the spirit of the Tolkien books and Peter Jackson films

- had stunning visual effects

- featured eloquent dialogue and smatterings of wisdom

- focused on the core story of good and evil and how we grapple with perilous times

- was wonderfully devoide of sex scenes (even innuendo) and trendy pop culture topics

Season one far exceeded my expectations. I cannot wait for the next.

Rating: A

The Content We Consume (part 2)

"Man Writing" by Oliver Ray

Last week, I looked at Biblical background and suggested guiding principles for the content we consume. Here, I continue with some foundational topics- creativity and fiction.

On Creativity

Why do we create art, perform musicals, make movies, write books, or do anything like this in the first place? We need to start with our identity.

"When God created man, he made him in the likeness of God." (Genesis 5:1b) An in the beginning, God created (Genesis 1). Made in His image, humans are wired to create. Though we cannot (like God) create ex nihilo (out of nothing)- nothing is new under the sun, but has been around since ages past (Ecclesiastes 1:9-10)- we can and do create by taking things (objects, ideas, etc.) and combining them in novel and interesting ways. Which leads us to imagination.

God does not just create- He is creative. This attribute, like others, can be clearly seen in the things He has made (Romans 1:19-20). The astounding diversity of this world- even today, we have yet to fully plumb its depths- speaks to an imagination far beyond anything we can conceive. He is artistic. He speaks things into being (Genesis 1 again) and even sings over His people (Zephaniah 3:17). Being in His image, humans are also imaginative- we are creative creators. We don't just make things . . . we make them with artistry. The Lord expects, values, and enables this (see Exodus 35:30-35, where the Lord fills Bezalel "with the spirit of God . . . and with all craftsmanship, to devise artistic designs . . .").

The creative attributes of God can also be seen in the Bible taken as a whole. The Bible- God's revealed word to us- could have been much shorter. A few pages on the nature of God (who He is), man (who we are), our relationship, and what God expects of us. It could have been straightforward and systematic. Instead, what we have is a collection of history, poetry, prophecy, letters, stories, and other writings. It is telling that the Lord chooses to deliver His messages through such varied literary styles and methods. 

On Fiction

Why do we create fictional things- stories, movies, artwork, etc.? Why do we act in plays about fictional events or play games with fictional themes? In short, why deal in stories that are not true? 

If we are, by nature, creative creators, it follows that we will design things and produce art (books, paintings, movies, etc.) about fictional things. In a sense we must- fiction is making something up that does not exist, so creating (for humans) implies fiction. If I am (say) recounting a historical event, there is a creative aspect in how I present it, but you could argue that I'm not technically creating anything- just creatively re-telling what is already known. And that is a good and necessary skill. But if creating means producing something new, fiction is one obvious result. And we needn't look far to see that in action- children naturally do this as they play, and we continue the trend as we age, just in different ways. We need fiction in our lives.

 

Fiction is not its own end- we don't do it simply for the fun of creating (though it is fun) or because it enables us to use, enjoy, and explore the gift of imagination. We create new situations, characters, plotlines, dialogue, and even new species, rules, and worlds because we cherish and are driven by stories. We are a story-telling people. Even fictional ones help us better understand and live in our own world, because fiction, though it may not contain 'fact of' truth, can contain a wealth of wisdom.

I mentioned truth and wisdom in the first post. You can write a story that is not true to convey wisdom. Good storytelling "can teach you about the world and about yourself . . . [y]ou become wiser . . . in the sense that you are more deeply aware of the great and enduring truths of human life." (Adler & Van Doren, How to Read a Book). Jesus told stories all the time, speaking in parables and fictional scenarios to illustrate eternal truths. And that alone should be enough to tell us that fiction matters (and can be a very good thing).

Summary

We are creative creators because we reflect the Lord's attributes, which we see in His world and His Word. Fiction is one facet of this, producing works of art that may not have 'fact of' truth but contain a wealth of wisdom. So as we wrestle with what content is suitable to consume, we should not ignore the power and beauty of fiction. 

In the next post, I'll zero in on the fantasy genre, which comes under special scrutiny and thus requires further analysis.

Alcatraz Smedry vs. the Evil Librarians (Brandon Sanderson)

Alcatraz Smedry is an orphan with a regrettable superpower: he breaks things. On his thirteenth birthday, things take an even weirder turn, as he finds out 1) his parents are alive, and 2) they sent him sand. And claimed it was his inheritance. Before he has a chance to quite process this, he will find himself on the adventure of his lifetime as he learns the horrible truth: the librarians are in charge of the world. And they're not the good guys.

Written for children (well, ages 8 and up), I absolutely loved this book. It is whimsical, delightfully absurd, humorous for multiple ages, tongue-in-cheek, and oddly wise. The narrator frequently addresses the audience to explain parts of the story (or the basics of good writing). The first of a five-book series, I cannot wait to read the rest.

Rating: A

The Content We Consume

"Man Writing" by Oliver Ray

As a Christian, how do we decide what content we consume or activities we participate in? Which books, movies, TV shows, theatrical productions, artwork, or games are appropriate, and which are not?A matter of debate and disagreement through the years, I plan to look at this topic from several angles and a few posts. Today's focus is background and general principles, which apply beyond the aforementioned categories to pretty much anything we do. I am indebted to my friend for his help in developing this content.

Biblical Foundations

As in all things, the Bible informs our approach to responsible content consumption. We know that "in the beginning, God created the heavens and the earth" (Genesis 1:1) and "it was very good" (Genesis 1:31a). But man's fall brought a curse to all people and even creation (Genesis 3, Romans 8:18-25), and nobody is righteous or seeks God (Romans 3:9-12). Jesus's death and resurrection reveals God's ultimate plan of restoration- Christ has set us free from sin and death (Galatians 5:1) and is making all things new (Revelation 21:5). The Christian is to imitate Him, walk as children of light, and try to discern what is pleasing to the Lord (Ephesians 5:1-10) as we seek to obey the great commandment to love God and neighbor (Matthew 22:35-40).

So what content/activities are pleasing to the Lord? Creation is good, but under a curse, so we need humility and discernment. And some things that may differ from person to person. Why?

We know that the earth is the Lord's, and everything in it (Psalms 24:1). Paul says that all things are lawful, but not all things are helpful (1 Corinthians 10:23-32), and we will not be dominated by anything (1 Corinthians 6:12). It is easy to make good things into ultimate things, creating idols (false gods) as we are prone to do. Indeed, Jesus says "it is not what goes into the mouth that defiles a person, but what comes out of the mouth; this defiles a person" (Matthew 15:11). My friend notes that "this verse is primarily about dietary laws, but I think it applies to everything we consume." James agrees, as he says we are tempted by our own desire (James 1:14). So while we can enjoy the good earth God created, we must be mindful of our own weaknesses- and those differ from person to person- and look carefully how we walk (Ephesians 5:15). But it's not just about us as individuals.

The church- the community of Christians- are referred to in Scripture as the body of Christ (Romans 12:5). Like a body, we have different functions, being given different gifts (Romans 12:4-6), also called manifestations of the spirit, for the common good (1 Corinthians 12:7). This diversity of gifts and functions, combined with different cultures and weaknesses, means that Christians will differ on certain topics (Romans 14). The keys in that chapter are that each "should be fully convinced in his own mind" (v5b), as "each of us will give an account of himself to God" (v12), and we should not judge each other (v13). But that doesn't mean it's a free-for-all. We need to be others-centered: it is not good to "do anything that causes your brother to stumble" (v21b), and we should "pursue what makes for peace and for mutual upbuilding." (v19)

Principles to Consider

With all this in mind, how should we then live? How do we decide what content we consume, be it a game, book, movie, music, etc.? Here are some questions to guide us, with one key verse being Philippians 4:8: "Finally, brothers, whatever is true, whatever is honorable, whatever is just, whatever is pure, whatever is lovely, whatever is commendable, if there is any excellence, if there is anything worthy of praise, think about these things."

1. Is it true?
• Truth involves both knowledge and wisdom. Knowledge is provable information. Wisdom includes principles, beliefs, and other things that can be verified empirically (through observation and experience). 
• Note that something can be true even if delivered in a fictional vehicle. Jesus frequently spoke in parables, illustrating wisdom through fictional scenarios. The truth wasn't in the 'fact of' scenario itself- it didn't necessarily happen in real life- but in the point Jesus was making through the scenario- the message.
• As we look at a given object, we must discern the message(s) it is proclaiming. Some things don't have these (see point 2).  But often, there are one or more messages- proclamations about God, man, or the world. And each message must be examined to see if it is true, either in knowledge or wisdom.
• Though the messenger is important, all truth is God's truth. We are all made in God's image (Genesis 1:26) and therefore carry attributes of Him, even if we do so unknowingly (or have corrupted images due to the fall). In the Bible, God routinely uses those outside of His people to humble them- look at the parable of the good Samaritan (Luke 10:25-37). It's telling that Jesus used a fictional account and chose Israel's enemy as the example to follow in it. One takeaway is that there may be truth in specific actions and words of others even if their overall lives may not align with our convictions. 
2. Is it good?
• Truth is the start, but not the end. There are many true facts about the evil in this world; we needn't focus on nor celebrate those. Scripture is clear: we should be infants in evil (1 Corinthians 14:20), which means we should not be engaging certain things.
• As we look at a given object, we must discern the goal or intent of it. It may be:
• Simple appreciation and enjoyment- "this is beautiful, well made, amazing, or fun; enjoy it [as part of God's creation]." 
• To deliver knowledge.
• To develop important skills.
• To enable social interaction. 
• To deliver a message of some sort- to make a statement about God and man, per point 1- and in those cases, the message(s) must be examined to determine not only their truth but their goodness.
3. Is it edifying?
• From my friend: "what is of primary importance is how that content makes us feel, think, and act." That is the intent behind Philippians 4:8. What is true and good, in goal and/or message, is eligible to be edifying, but that does not inherently make it so. 
• Ultimately, whether or not something is edifying comes down to the fruit that results from it. "So, every healthy tree bears good fruit, but the diseased tree bears bad fruit. A healthy tree cannot bear bad fruit, nor can a diseased tree bear good fruit . . . Thus you will recognize them by their fruits." (Matthew 7:17-18,20) This is talking about people, but I argue it applies to the content or activities we engage as well.
• Part of this comes back to the goal/intent. From my friend: "When deciding if an activity is fruitful for a Christian, I think there are a lot of factors to weigh. Is it developing my skills in some way? Is it promoting interaction and engagement with other Christians or with unbelievers? Is it teaching me something about the world or humanity?"
• What is edifying/fruitful to one may not be for another, depending on their respective strengths and weaknesses. This goes back to Romans 14. So there are cases where a given thing is perfectly fine for some Christians, but others may avoid it because it distracts or tempts them.
• It is possible for something to be edifying at one point in your life (or even your day) but not another, based on your maturity, current state, or struggles. Some things may be good for adults but not for children. And since it is possible to take good things and make them ultimate things (idols), what may be good for some people might have to be avoided for others. 
• It is possible for something to be partially edifying- partially true and partially good. To have both true and false messages, good and bad intent, etc. In fact, most things probably fall into this category. We have all seen movies that may have an excellent overall message but also have a scene or two that is inappropriate, for example. In such cases, we must weigh the benefit to the cost- the good to the bad- to determine how to proceed.

So, is it true, is it good, is it edifying? For a given scenario, the answer may be obvious or require humility and discernment. And it may be good for one but not for another. Whatever the case, "seek first the kingdom of God and his righteousness" (Matthew 6:33a).

Next week, I continue with the foundational topics of creativity and fiction.

Death in Castle Dark (Veronica Bond)

Nora Blake is enjoying her new acting job, working in a murder-mystery troupe and living in an actual castle in the American midwest. But things take a horrible turn when one mystery dinner reveals an actual murder- one of the actors who lived and worked with her. Police are on the scene, but will they be able to find the killer before they strike again?

I don't often read mysteries, but enjoy them when I do. This fits into the 'cozy' mystery category- a nice book to curl up with on a winter or rainy day. I would consider this a typical whodunnit- it is suspensful and has the twists and red herrings you'd expect in the genre. That said, I didn't think it extraordinary; some elements seemed poorly done and character portrayals amateurish. Enjoyable overall, but I'm not sure I would read more in the series.

Rating: B-