I wasn’t the only blogger to discuss Fantasy and Sci-Fi Lovin’ Blog’s post about Christ figures. John Brownlee over at SciFi Scanner also commented.
Besides agreeing that certainly there is a significant number of Christ figures in fiction, Brownlee went on to attribute this to Christianity’s influence on the culture. That in itself is an interesting point I’d love to explore.
Several days ago, I took the approach that Christ figures are in fiction because Man longs for a Savior. With just the briefest contemplation, I’d have to say that I believe Man first forms beliefs which become the threads of culture, then culture, in turn, influences individuals. That seems apparent simply because culture is what society—humans coming together—does. In other words, culture does not exist apart from Man, though we often talk about it as if it does.
But I didn’t intend to deviate into that interesting thread today. Instead, I wanted to look at Brownlee’s comment about the stories with Christ figures:
These characters are all united in a positively maudlin over-usage of ham-handed Christian symbolism. Their comings were usually foretold in ponderous, badly written “prophesies.” They all have supernatural powers that allow them to perform miracles. And so on.
In other words, he is saying there is nothing “fresh” about stories containing Christ figures, though he postulates that Christ in outer space fighting against an alien might be interesting.
His comments were particularly intriguing to me for two reasons. First I find it heartening that even stories written for the general market fall under what amounts to an accusation of being derivative. Yet they worked and were well-loved by many. It seems the stench of publishing death is for the aroma of derivation to waft around a novel. And yet, universally professionals will say there are no new stories.
Certainly, I am not interested in a story knock-off. It’s one reason I have no interest in fan-fic—either reading it or writing it. To me part of the fun of a story is a new world and characters I haven’t met before.
Which brings me to the next point Brownlee’s comments raised in my mind—does a story with a Christ figure of necessity have to seem derivative?
If you read J. K. Rowling’s comments about her faith, you’ll find that she purposefully downplayed her Christianity because she thought her worldview would give away the culminating plot points of Harry Potter and the Deathly Hallows and spoil the surprise.
How does a Christian writer avoid “maudlin over-usage of ham-handed Christian symbolism”? (And what IS “ham-handed” symbolism? 
)
Your thoughts?
“Go!” cried the woman. “Leave me. I’m not worthy of being saved.”
“No,” said Rathon, standing strong and noble. “I must die, so that you may have life.”
I’m guessing that may come across as somewhat “maudlin” or “ham-handed”, what do you think?
I think you’re right that many stories (and not just fantasy) seem to have Christ-like overtones. Whether we are believers or not, we all respond to saviors in literature. I’m reminded of the Scripture that says there is nothing new under the sun. Even our best stories probably have similarities to others, and ultimately most of them fall back on the conflict between various forms of good and evil–namely, our struggle with sin.
Critics often complain of genre stories as being “formulaic”, and that bothers me sometimes. What they’re really complaining about is a story being predictable. I think it’s certainly possible for a writer to have a unique voice even when following certain genre conventions.
Comment by Mark Harbeson — November 15, 2007 @ 4:29 pm
The fact that Christopher Vogler’s bestselling writing book has a heroic journey based on Joseph Campbell’s mythic analyses, and that that journey has a hero and quest and death and resurrection and bringing back the knowledge/salvific agent/boon to the people itself influences writers.
It’s not only that our culture has placed huge importance on the Messianic figure, but that myth in general has, for thousands of years. And that those affect all writers who are, one presumes, affected by what they have and do read (classics, religious texts, modern tales, fairy tales).
I happen to believe we’re hardwired to want/need a Savior, but that aside, the power of the myth has been supported by millenia of storytelling. Hard to get away from that. Even atheist writers have to be affected by the milieu of myth, Christian narratives, and the very classic tales that were influenced by such.
Plus all those writers using Vogler/Campbell as tools for plotting–well, there ya go. Screenwriters and romance writers and other writers online admit to using Vogler’s delineation of the hero’s journey. It shows.
Mir
Comment by Mir — November 15, 2007 @ 11:42 pm
Mark, I looked ham-handed up in the dictionary (the one on my computer) and it actually had the term listed, with this definition: “clumsy; bungling : a ham-handed attempt.” Learn something every day! I’d heard the phrase, but never took time to find out what it actually meant. So, yes, your example is ham-handed.
Mir, great point about the hero’s journey popularized by Vogler/Campbell. But I agree with you—those men were systematizing what they observed in myth, not inventing something new. Others have applied it far beyond fantasy, which is one reason it is becoming transparent.
I think it’s a challenge to show God and Christ and to do so in a way that is not re-tread and not ham-handed.
Becky
Comment by Rebecca LuElla Miller — November 16, 2007 @ 2:26 pm
Oh, and Mark, I agree with the “genre conventions” aspect, though I think the actual list of conventions for fantasy is pretty much up for grabs.
As far as I’m concerned all that needs to be in place is a good vs. evil struggle and some sort of make-believe aspect—a non-existent firefish, an other-world land accessible through a portal from this world, a powerful or magical sword, talking animals, etc.
Becky
Comment by Rebecca LuElla Miller — November 16, 2007 @ 2:31 pm