I'm Sam. I'm a Christian, first and foremost. I'm almost 30, married, and the father of a little baby boy who will be born later this year. Central Virginia is home to me, but I recently relocated to Arlington, Texas for a job. I have an M.A. in English and am now working as a content writer/editor for a non-profit ministry organization. I've loved reading, writing, and superheroes for as long as I can remember. When I'm not writing for work, I'm still working a lot on writing/editing projects on the side. Here's a bit about my current project.
In FRACTURED HEROES, several different crimefighters must come together to stop a threat to their city--but they have clashing personalities and troubled pasts hidden beneath their masked personas. Miracle is strong on the outside but never good enough in his own eyes. Ruby is secretive and bitter due to a traumatic history. Frostburn is cocky and headstrong, and has a tense relationship with his ex-girlfriend, the more hopeful and compassionate Lady Light. Night Terror is brutal and intimidating, cold and ruthless. When ordinary crooks start showing up around the city with powers, can these disparate heroes band together in time to stop the threat--and maybe find some healing and genuine companionship along the way?
“Poems are not made out of ideas. They’re made out of words.”
You’ll have to forgive me, because I am a bit uncertain about the original source of this quote. Originally I had thought it was C.S. Lewis, but upon further research I think that either 1) I was misremembering, or 2) I may have read it in a Lewis work some time ago, but even Lewis was quoting someone else and not attributing the quote to himself. (I want to say it was in An Experiment in Criticism, but I couldn’t find it after briefly re-skimming the chapter on Poetry; I’d have to read more thoroughly to do so). In any case, upon a quick internet search this morning, I’ve found a few different sources attributing this quote not to Lewis at all, but to French poet and critic Stéphane Mallarmé.
According to a literary magazine entitled The Paris Review: “Paul Valéry tells the story: The painter Edgar Degas was backhanded-bragging to his friend Stéphane Mallarmé about the poems that he, Degas, had been trying to write. He knew they weren’t great, he said, ‘But I’ve got lots of ideas—too many ideas.’ ‘But my dear Degas,’ the poet replied, ‘poems are not made out of ideas. They’re made of words.'”
Now, after opening with an inspirational-sounding quote, I may surprise you. Because I’m actually not going to take the side of that quote. In the above exchange, I’d put myself in the shoes of Degas, knowing that my poems aren’t always the best or deepest ones in the world, but saying (despite the rebukes of the more deep, artistic poets), “Sure I can write poems. I’ve got a lot of great ideas. That’s what it takes to write a poem, right?”
Yes, obviously, poems contain words, and they shouldn’t be just any words haphazardly thrown together, but words arranged in a specific way based on sound, structure, etc. And I realize that. But for me, a poem still starts with an idea. Every writer is different, of course, and there’s no one correct way to do everything, but for me a poem starts with an idea, a feeling, etc.–and it’s not until later that I can translate that idea into the words which make up a poem.
When I posted one of my poems earlier in the week, I mentioned that some people are talented enough that they can write a beautiful and poignant poem about almost anything–something in nature, a tiny episode out of their day, something they see just walking down the street, etc. Personally, I am not one of those people. In order to make a halfway decent poem (at least, one that I think is halfway decent), in order to really be inspired and care about what I’m writing, I need to base it on something important to me–a feeling, a life experience, something I’ve been going through or thinking about already, etc. It starts with an idea, a strong and powerful and weighty idea that is close to my heart, and I translate it into words later as I go along (sometimes over the course of two or three or more revisions).
I vaguely remember one poem I wrote in a creative writing class in college. It was about nature–something about winter, and the snow melting as spring begins to come along. I may have called it “Waning Winter Wonderland” or something alliterative like that. But I didn’t write it because I was passionate about it and I really felt a deep sense of inspiration to write about the snow; I only wrote it in response to an assignment or writing prompt for class. My professor (who I’m quite certain is a better and more experienced poet than I) seemed to like it, and wrote in a comment that I should “please keep working on this one!” But I don’t think I did. I’m not sure if I even still have the poem anymore or could find it again at this point. While it may have been wise for me to at least take my professor’s advice and continue honing my craft, the poem wasn’t one of my favorite ones, because it wasn’t one that was important to me at the time. It wasn’t born of personal inspiration. It wasn’t about something I was passionate about, and it didn’t really come from my heart.
For me, poems that I write have a very close and personal inspiration. I think that’s why I’ve been told–and I agree with this–that my poems are often like stories. They’re about things that happen or things that people deal with rather than just about things that one might see in nature, for example. Each one contains a story, or at least is born of a story in my mind. When presenting them or reading them aloud to an audience, I may often say something like, “So I wrote this poem at a time when [X] was going on, and that was kind of what made me want to write about it…”
In fact, I do believe that prose and stories are my forte more than poetry is, which is part of why I don’t write poems super often. And when I do, my poems are born of personal experience and personal inspiration. I don’t just sit down and write a poem arbitrarily (unless a college class requires it). I write one every so often when I have a feeling or idea or inspiration that means a lot to me and that I think would be worthy of a poem. Admittedly, it may not seem like the most literary or artistic approach compared to Mallarmé’s lofty philosophy. But it’s what works for me, and as I said, I don’t think there’s any one right formula that works for all authors all the time.
So which way works best for you? If you’ve ever written a poem, do you make them out of words? Or out of ideas? Or out of stories?
Here’s another new poem that I finalized just recently and debuted at an open mic night this week. I’m calling it “Secret Identity.”
Question for discussion: do you prefer poems with a definite rhyme or rhythm (like this one will be), or ones written in free verse (like the last one I posted)? I feel like free verse is more “in vogue” these days, and so for a while most of what I wrote was free verse. But personally, I find that when I write for spoken word or specifically for performance (as I have been doing lately), I like to go back to consistent rhyme and rhythm if I can. Having a rhythm and a pattern or beat helps me to keep my pace when the audible sounds are the focus more than the written word.
Anyway, here’s “Secret Identity.” I hope you enjoy it.
I haven’t written much fiction lately, but I’ve been working on some poetry. And as our own Mr. Mastgrave reminded me this week, a poem can often be a form of telling a story. In my case, I certainly believe that that’s true. Some people are gifted enough that they can write beautiful poems about almost anything, but I can really only bring myself to write one when I have the right inspiration, usually when it has been influenced by something from my life—-a story, if you will.
Later in the week, I may write a post analyzing poems and storytelling a little more thoroughly. For now, I’d just like to share with you some of the latest ones I’ve written. The following is a work in progress born of an emotion inside me, but I didn’t really put it down in words until yesterday–so I reserve the right to edit and change it later on as I revisit it. (But I am planning to unveil it to the public at an open mic night tonight, so hopefully it’s ready enough for that at least!)
I have named this poem “The Wanderer’s Lament.”
Home is not the mattress I sleep on
in a brick building far too uptight
to be anything more than a temporary dwelling.
Home is no longer the four walls
where I talked and laughed with two best friends
right up until everything changed.
Home is not even where my parents live, or my brothers,
or the simpler, more idealistic version of myself
I can still glimpse within my mind,
reading a book or doing homework
in that familiar house ten years ago.
Home is not a past that can never be repeated–
but neither is it the ever-fleeting present
or some hopeful future still in flux.
Home is not a grand adventure
where I crossed the river to chase my dreams
and learn how to grow up a little more
and just maybe begin laying down some roots.
Home is not the winding halls
of the university I still love,
or the classroom where I spend so many hours
to earn a living and hopefully make a difference.
Home isn’t found under a steeple, in a pew,
or even a friendly living room full of smiling faces
This is the third and final installment of an old short story I’m re-posting, called “While We Were Yet Sinners.” Before you read this, you should also read Part 1 and Part 2. I’d also like to refer you back to an older post of mine about taking a known character and putting a fresh new spin on them as a writing exercise, because if you haven’t guessed already, that’s basically what I did in this story. Thanks for reading, and for those who celebrate, have a blessed and happy Easter.
Joha still remembered the details of how it had all happened the previous day. Now he sat in a cold, hostile jail cell, on the day that he had been told he would be killed. The cell was underground and since he could not see the sun, he was not totally sure what time of day it was now, nor what time of day his execution was to take place. As far as he knew, he could have almost a full day left, or he could have only mere minutes. He had no idea. As Joha sat against the hard, bare wall, he began to think about all that had happened recently. He had killed a man, but he accepted it now. Not to say that he meant to condone it as if it were not wrong, but he realized what he had done, and knew that there was no way to take it back. He felt deep remorse now, and though he knew that the pain of his death would be great, he understood that, if anyone should have died, it was himself, not the innocent man he had killed.
On that note, his thoughts turned back once again toward spiritual things, and what he had learned as a child. He knew that the LORD must certainly hate him now; he had stolen several times, and he had taken a life. He thought back through his past and realized that those were not the only bad things he had done. He lied whenever it suited him to do so, which was often. He had gotten drunk frequently, either from being under pressure or just for pleasure, and he had sometimes spent stolen money on the local prostitutes. He remembered the Commandment about regarding nothing higher than the LORD, and he certainly hadn’t obeyed that one. In fact, he seemed to have broken all of the LORD’s commands that he could remember.
Then he remembered Jesus. Jesus, the most controversial man in all of the Roman empire, possibly in all the world. The man who called himself the Messiah. The man who preached assurance of salvation, and forgiveness of sin. Joha thought about this. He knew he had committed many, many sins and was deserving of judgment. But he remembered from his studies of the Scriptures in his younger days that, though the LORD was righteous and just, He was also loving and merciful. What if this forgiveness thing was true? What if, even now, with only a very short time until his death, he could still be forgiven, and his soul could still be saved?
“You. Murderer,” he heard. He looked toward the cell’s entrance to see one of the Roman guards who had escorted him here in the first place. “Get up. It’s time.”
The guards were leading him to where he was to be crucified, a place called Golgotha. Joha had said nothing. Many thoughts were racing through his head, mostly the same ones that he had already been through a thousand times. He felt apprehension and sadness, of course, but he couldn’t ignore the thoughts he kept having about Jesus. He had never even met the man, but he couldn’t stop thinking about him.
What was it about Jesus that kept plaguing his mind? Was he truly the son of God?
As they were walking, the guards were talking to each other, making light conversation as anyone might do with their coworkers. “Another one to be crucified,” one of the guards remarked. “He’s the third we’ve had this week. What do you know?”
“It just shows you what a corrupt world we live in,” the other guard replied. “But at least this one isn’t as bad as the one we brought in yesterday.”
“Most certainly not. Jesus of Nazareth—claiming to be the son of God! What a ridiculous statement. I’ll be glad to see that lunatic crucified.”
At this mention, Joha became alert. “What did you say?” he asked frantically. “What about Jesus?”
The guards both eyed him strangely. It was very uncommon for prisoners to converse such with their guards. But perhaps they felt that the dying man deserved to be granted one last request; whatever the reason, they let him speak.
“You want to hear about Jesus?” the guard asked him. “We arrested him yesterday and brought him to be crucified!”
“But not before He was flogged and whipped,” the other guard added.
Joha was shocked. “What?” he asked. “Why? What did he do wrong?”
One of the guards looked at Joha as if he didn’t know anything. “You don’t know much about the man, do you? He was claiming to be the Son of God!”
“Well, yes, I know that!” Joha continued. “But he was healing people, and doing miracles, and forgiving sins! Those aren’t worthy of death, are they?”
“Look,” the guard said tersely. “I don’t really know, and I don’t really care. It’s your own people who want Him dead—I guess He wasn’t quite the king they were hoping for. I couldn’t care less about the man—I just do what I’m told, and they told me to arrest him.” The guard paused, then added, “Besides, I don’t think you’re in much of a position to be questioning what’s worthy of death and what isn’t.”
Joha ignored the insult to himself and continued inquiring. “But what if He really is the son of God?”
The guards were getting irritated now. They stopped walking and turned back to face Joha. “Why are you sticking up for this man? He can’t help you now, and He is receiving a punishment much worse than yours. If I were you I’d shut your mouth, unless you want them to charge you with blasphemy too!”
“Stop!” one of the guards commanded. He gestured for Joha to come forward just a little bit more. Then, when they were in the desired location, the guard said, “We’re here.” He pointed to Joha’s right. Joha looked where he was pointing and saw it. Huge, menacing, a symbol of utmost terror and pain. A tree that had been cut, shaped, and formed into an implement of the worst possible torture. It was the cross.
“Carry it to the hill,” the guard instructed coldly.
Joha’s journey to the hill was brutal and torturous. A few times he felt like he wouldn’t be able to make it, but he forced himself to press on and complete the journey successfully. He grimaced at the irony that he was making such a journey that would only aid his captors in his death. But, just as before, there was nothing else he could do.
They pierced each of his hands with a metal spike, and put one through both of his feet. Joha cried out as excruciating pain surged through his entire being. He was now fastened tightly to the cross. He continued to moan and scream as they raised the cross, with his body still on it, until it stood upright and was securely fastened to the ground. The process, for the most part, was complete. What disturbed him most was the knowledge that he was likely to be left here, writhing in torment, for several hours or even days, when every part of his mind and body was screaming for the pain to be over right now. He knew, however, that at this point he would be dead sooner or later.
Despite the terrible, indescribable pain, he looked around him. There was an incredible commotion coming from the ground to his left. He saw that there were two other crosses in addition to his. All three of them stood in a row, and strangely enough, the man in the middle next to him was still being tortured and taunted by the spectators on the ground. Joha wondered why they would be doing this. Wasn’t the shame and torment of the cross enough punishment for whatever the other man had done? And, if anyone, why weren’t they doing these things to himself? Surely this man’s crimes, whoever he was and whatever he had done, were not worse than Joha’s!
“Save yourself, King of the Jews!” mocking voices cried out from below.
“If you can, then come down from that cross!”
“Some savior,” one remarked, followed by a cruel, scornful laugh.
Savior?, thought Joha. He had been told by the guards that Jesus was being crucified as well. Was this man Jesus, the one about whom he had been thinking and wondering so much, hanging on the cross right next to him?
From this left, past Jesus’ cross, another taunt was heard. To Joha’s surprise and outrage, even the other criminal on the third cross was mocking Jesus! “If you’re really the Christ, then prove it by saving yourself—and why not us too, while you’re at it!”
Despite how much he was hurting, Joha knew that Jesus was innocent, and felt the need to protest this mockery. As much as he was physically able, he turned his head toward the other criminal. Straining his voice and ignoring the pain, he called back, “Do you not fear God even in your death? We both deserve to die for our sins, but this man has done nothing wrong!”
Then it came to him. He had just realized the answer he had been subconsciously seeking all along. The reason that he never had fulfillment in his past life was because he had walked away from God and had been living in sin. The reason that the LORD had never seemed close to him was that he himself had moved away by ignoring the LORD’s commands and following his own path, which had led him to this death. All this time, he had needed to repent of his sins and get back to God. And this Jesus—He hadn’t done anything wrong. He had healed people, and performed miracles, and fulfilled all the ancient prophecies—surely he was the true son of God, just as he had claimed!
“Jesus”, said Joha, finally seeing the truth. Slowly, t
he son of God turned his head towards Joha. His whole body was nearly unrecognizable; he had been beaten and tortured so much that he almost didn’t look human anymore. His beard had been violently ripped out and a cruelly wrought crown of thorns dug itself mockingly into His forehead, causing streams of blood to spill out onto His face. It was a face filled with ineffable sorrow that seemed to transcend even the physical pain of the cross, but even so, the hope, love, and forgiveness it radiated were unmistakable. “Jesus”, Joha repeated. “Do not forget me when you return to your Kingdom.”
Jesus smiled, inwardly rejoicing despite all the shame. Struggling against the agony to speak, He responded, “I assure you, today you will be with me in paradise.”
Joha managed to smile. It was true! Even though he had done so much evil, and would never have a chance to make up for it with good works, he was forgiven. Jesus had given him joy and hope, even as he was going to his death.
The rest of Joha’s life is indescribable. He endured much pain as he hung on the cross, pierced and bruised, for hours. He felt his heart almost sink again when he watched Jesus give up his spirit and die—put to death by the ones he had come to save. Joha saw and felt much grief, but he still held on to the renewed hope that Jesus had given him.
After several hours, a few Roman guards came by to make sure everything with the crucifixion was running smoothly.
“Look,” said one of them. “Jesus is dead.”
“Are you sure?” the other one asked, surprised and disappointed. “They usually last much longer than that.”
“Let’s find out,” said the first guard. Maliciously enjoying his work, he thrust his spear violently into Jesus’ side. The man on the cross made no reaction, no further outcry of pain. Instead, a mixture of what looked like water and blood gushed out from the gaping wound as the soldiers looked on, somewhat dejected. “Yes, he’s dead.”
The other guard shrugged. “Might as well just finish off the other two now.” He walked over to Joha’s cross. Taking a sharp, hard weapon, the guard smashed it forcefully against Joha’s legs a few times. Even more pain piled on top of what Joha was already feeling. He let out a shout of anguish. After several blows, Joha’s legs were broken.
Joha knew what this did. As long as his legs were still intact, he could still push up on his chest, and would still be able to breathe. But now that they were broken, breathing would be much more difficult. The guards did this when they wanted someone to die more quickly. Joha struggled to breathe, but couldn’t hold out very long, and he soon drew his last breath.
Suddenly, all the pain was gone. He felt no more hurt, and was no longer hanging from the cross. Instead of total darkness, he saw intense, unfathomable light. And in the midst of it all, he saw Jesus.
“Welcome, Joha,” Jesus spoke lovingly. “I had been seeking you out for quite a while, and I am glad that you finally decided to trust in me and be forgiven of your sins. We were just rejoicing over your repentance.” All the shame had been wiped away from his face. It now bore only a pure, holy love. “Welcome to heaven.”
“But God demonstrates His own love toward us, in that while we were yet sinners, Christ died for us.” -Romans 5:8
The next day, Joha returned to the marketplace once again. This time he had no intention of stealing anything; it would be foolish to do so again so soon, since the trader from yesterday would still be suspicious and watchful for thieves. This time, Joha came simply to spend some of his well-earned fortune from the day before. He browsed around the various stalls set up, searching for nice things to buy.
Look at that, he said to himself. A large, plump pig for twenty-six denarii—that could be enough to cover each meal for a day or two. He turned his head in another direction and saw a trader of linen and fine clothes. A very fancy robe, richly adorned and beautifully woven, for thirty-three denarii. Both of them were very fine items. But as Joha looked around at all the activities around him, he noticed something that caught his eye even more.
A man was paying for his trade with a cup. Not just any cup, it would appear, but a fine golden chalice, laced with silver and studded with jewels on the outside. What a nice and valuable cup—surely it was worth much more than Joha had right now, even more than what the trader was selling it for.
Joha wanted it.
He quickly forgot all of his logic about how foolish it would be to steal at a time like this. From a distance, Joha carefully watched the trader, an elderly and somewhat frail man, handling the fortune he had just received. The man polished it, seemed to admire it visually, and then tucked it away inside his cloak so he could resume business. Perfect—he was no longer keeping an eye on it. This would be an excellent opportunity for Joha.
Carefully, the thief snuck up behind the trader, preparing to make his move. Fortunately for him, another customer had come already, turning the trader’s attention away from the recently acquired chalice. Joha waited patiently. He watched and waited constantly, searching for the right moment. And then, moving on instinct, his stealing reflexes kicking in, his arm shot out and he grabbed the cup. Then, also almost automatically, his legs started running, carrying him far, far away.”Stop!” Joha heard. “Thief! He stole my cup! Somebody stop him!”
Joha paid these distressed cries no attention. He never did. All he did was to continue running, making his escape as quickly as possible—
“Aha!” came a cry from in front of him. Joha suddenly stopped moving, noticing that his path was obstructed by a large, muscular, familiar-looking man. It was the same livestock trader whom he had stolen from yesterday.
“You!” the trader shouted, grabbing Joha on the arm and holding him with a firm grip. “You’re the same thief who stole from me yesterday, aren’t you?” A mixture of victory and vengeance covered the trader’s face to produce a satisfied grin. He raised his voice and called out to all the citizens around, “Somebody summon the Roman guards!”
Then he turned back to Joha. Joha noticed that the other trader, the one whom the cup had belonged to, had now come up behind him as well. He felt fear well up inside him. He had always escaped before—would he be able to this time? If the Roman guards were being summoned, would he be jailed—or even executed?
His thoughts were interrupted by the livestock trader, still with a firm grip on his arm, speaking once again. “Now, as long as you’re not going anywhere, I’d like you to return that cup to the man standing behind you.” His words were gentle, as a mere suggestion, but the tone of his voice and the strength of his arm left no doubt in Joha’s mind that it was a command. “And while you’re at it, why not hand over the money you swiped from me yesterday.”
Joha had a plan. It was a very rash plan, one that he had just thought of on the spur of the moment, but it was perhaps his only chance at escape. Slowly, he raised his arm, as if he were going to return the cup. The trader’s grip on his arm loosened. Then, acting quickly, Joha reared his arm and flung it forward, thrusting the golden cup into the trader’s head. The large man let out a cry of pain, and instinctively let go of Joha’s arm. The thief took off running once again.
His initial feeling was relief. His plan had worked. He hadn’t been sure if it would work—he didn’t know how heavy or hard the cup actually was—but apparently it was enough to hurt. Joha looked behind him as he ran. Just as he expected, the livestock trader was once again pursuing him, with the other trader following close behind.
They were getting closer. Joha looked behind him and saw that they were probably only a few cubits away. Normally he was a good runner. He had to be, since he always needed to make quick escapes. But from what had already happened, his legs were getting tired, and he was losing strength. Within a few moments he was forced to slow down, and his pursuers caught up to him. The large man came up in front of him, and the older man to his side.
“Now I’ve got you!” said the large man. “You’re tired now—don’t try to escape! And don’t think you can pull that same trick again!”
Joha wasn’t listening, and he didn’t say anything back. He desperately needed to escape, and quickly. Even though the trick had already been used, he once again raised the cup to strike with it—but this time, he struck the older man, who happened to be closer to him. The old man let out a gasp of pain and fell to the ground. Joha once again tried to run away—
“Stop!” shouted a loud, commanding voice from not far away. Joha looked up. Two tall, muscular, stern-faced men stood in front of him, wearing armor and brandishing weapons. Hadn’t someone called for the Roman guards? Obviously, they had come. Joha didn’t know what he would do.
“What is the trouble here?” one of the guards inquired. The large man pointed to Joha and angrily spoke up. “This vile thief has stolen from our marketplace two days in a row now! And just a moment ago, he slew this innocent man!”
“Slew?” Joha repeated incredulously. “What? No, he can’t be dead!”
“He was old and weak,” the large man commented, bending down toward the other man’s limp body. “His heart beats no longer.”
Joha felt a chill rise up inside of him. What had he done? He had only wanted to get rich and get away. He never meant to kill anyone. Despite the ethical codes that he had justified his way around bending or breaking, he knew that murder was most certainly wrong. Wasn’t that a Commandment as well?
One of the guards looked at him, studied him over, and scowled with contempt. “A dirty little Hebrew, causing trouble in the city. Why am I not surprised?” This vile man shall be brought before the judge, and punished for his crimes!” the other guard shouted, coming closer to Joha. He gestured to the golden cup and asked, “Is this what he stole?”
The large trader confirmed it.
Before he knew it, the golden cup was being torn from Joha’s hand by the strong grip of the Roman soldier. Crestfallen, not so much for the loss of the cup as for the fact that he had been caught, Joha saw the chalice being handed back to the livestock trader. Then the Roman soldiers quite forcefully took hold of Joha. With his mind racing, his heart pounding, and his soul overwhelmed with a sinking feeling, Joha was brought away.
Only a few hours later, Joha stood in a large courtroom, in front of a judge. The Roman guards on either side of the room still eyed him menacingly.
“Joha the Hebrew,” the judge addressed him scornfully. “You have committed theft and murder. Is this true?”
Joha knew that there was no point in trying to escape any more. There had been several people to witness the scene, and any possible routes of exit from the courtroom were blocked by the hostile guards. He was no longer trying to deceive himself, either about escaping or about right and wrong. He knew that his crimes had been wrong and, though he still felt fear gnawing away inside him, he was trying his best to be brave and face the consequences boldly. Feeling irrepressible guilt and shame rise up in his soul, he spoke three simple words. “It is true.”
“Then, Joha, you will be punished,” the judge announced. “Such crimes are certainly worthy of death. Based on the many things you have probably stolen over time, as well as requests from the murdered man’s family and the witnesses of the act, the court has ruled that no punishment less than crucifixion will be acceptable.”
Crucifixion? This was terrible! That was the very worst possible way one could die! Though he knew he deserved to be punished, he had fervently hoped that his sentence might be a light one, at least lighter than this. Only in his darkest imaginings and fears had he envisioned himself being crucified for his crimes. He had heard all the horrible stories about criminals who had been sentenced to such a death, and how they were often allowed to hang on the cross for hours in agony until the last trickle of life faded quietly out of their bodies. The thought of such a thing happening to him made Joha unbearably fearful and nauseous. But what was he to do about it? He had already established that there was no possible escape. And somehow, even though crucifixion was such a terrible experience, he felt that he deserved to die for what he had done. No, he would not try to escape. He would have to endure it, with whatever modicum of dignity and nobility might still be left within him, however terrible it might be.
The judge made one final comment. “The crucifixion is to be held tomorrow, during the Passover feast. Guards, I trust you to keep Joha in prison until then.”
Hello, readers! This week I’m filling in for another contributor who is ill and not able to post right now. As such, I’ve dug up an old story from my younger years that I’d like to share with you this time around. It looks like I first published this story on my old Fictionpress account way back in 2009, and I haven’t really done much with it in a long time, but it’s nice to revisit artifacts from the past every now and again and see how one’s writing has changed and grown over time. In any case, this story is called “While We Were Yet Sinners,” and I think it’s fitting to post around Easter week, for those who observe the holiday. I’ll post the story in three installments throughout this week. I hope you enjoy it.
He was running away, ignoring whoever sought him and making every effort to avoid being found.
In fact, it seemed that he was having to do that a lot these days. Every time Joha stole something, the original owner and any other people who happened to be there at the time came running after him to try to bring him to justice. And that was exactly what was happening now; he had just been at the marketplace and helped himself to a handful of gold coins from the livestock trader. It probably wasn’t all that much—Joha hadn’t had time yet to sit down and count it—but it was something, hopefully enough to support him for another week or two.
He looked behind him and saw the livestock trader, a large and burly man, close on his trail, his rage fueling his body and giving way to furious shouts. Joha was inclined to snicker to himself; the trader probably thought that he actually had a chance of catching the thief. But Joha knew that he was the best at what he did; he had never been caught, and as far as he was concerned, he never would be.
Still running past the various obstacles that stood in his way, Joha ignored the oncoming opposition and looked ahead. The sight he saw brought him gladness: a large crowd. It wouldn’t be hard to lose his pursuers inside it. Neither his physique nor his face were particularly out of the ordinary, and he was fairly sure that none of them had gotten a good look at him, so once he was among everyone else, they would be hard-pressed to recognize him. He tucked the small bag of coins inside his cloak, and then, running on the last leg of his journey toward safety, he ducked into the crowd of people standing around and seeking to trade their items. As soon as he was among them, he stopped running—running would make it obvious that he had something to hide. Joha smiled slightly to himself. He should be safe now.
Carefully, making sure to be inconspicuous, he peeked above the heads of those gathered and looked in the direction he had just come from. He saw the livestock trader, still standing there, but confused, not sure of where the thief had gone, and no longer able to chase him. In a moment, the trader ran off in another direction—whether to continue the search or to give up and go back to his post, Joha didn’t know.
But he didn’t care. Joha had not been found. He had won.
Now that the immediate threat was gone, Joha slowly and cautiously made his way out of the crowd, trying to blend in and act natural. Acting natural wasn’t too difficult for him, because stealing had become natural for Joha. He carefully pushed past people, throwing out various pleasantries and requests for pardons to make himself seem like a normal, respectable citizen. Once he was out, he continued at a steady pace back to his home on the other side of the city. He mentally congratulated himself at another job well done.
At that point, while he was still walking, Joha had a strange thought, one that rarely occurred to him, and thus was all the more puzzling. For the first time in quite a while, he considered what he had just done. A part of him almost seemed to say that it was not right to steal—but no, that was irrelevant to him. He had done it many, many times now; that was how he had come to be so good at it. There was nothing wrong with stealing. Granted, it put whoever he stole from in an unhappy position, but Joha never thought about them—he needed to steal in order to live, and so it must be all right.
And yet, he still couldn’t shake the feeling. Why did he have this moral sense all of a sudden? He hadn’t followed anything of that sort since—he thought back—since he had been a mere youth. Joha was a Hebrew both by birth and upbringing, and his mother and father had always taken him to the temple on the Sabbath, to worship and sacrifice to the LORD. His mind flashed to the Ten Commandments. They had been recorded in the Scriptures, in the book of the Hebrews’ exodus from Egypt, and had often been recited and referred to by the priests. Though he couldn’t remember all of the Ten Commandments, he was fairly sure that one of them specifically forbade stealing.
But it didn’t matter now, he told himself. He hadn’t been to a temple on the Sabbath for years, since he was a child. He wasn’t even sure anymore if he even believed in the LORD. Growing up, Joha had read and studied the Scriptures under his parents’ instruction. He remembered being a young boy, full of childlike faith, whose heart would swell with hope and excitement whenever he read the prophecies about the restoration of the nation of Israel and, even better, about the coming Messiah. As he grew older, a part of Joha still hoped for these things, but he had begun to realize what a cruel and bleak place the world really was. His people were looked down upon by most everyone else, and he himself had failed in every attempt to make an honest profession, which was why he eventually resorted to stealing. His parents had shunned him for such evil things and for no longer practicing the faith on his own, but he maintained that stealing was a necessity and that the LORD had all but abandoned them. He had had a hard life, and he hadn’t seen any of the blessings that the Scriptures had promised to his people. If the LORD really was so good and so powerful, then where had He been all this time?
Since he had taken up the life of a thief, Joha had almost completely ignored all thoughts of the LORD and memories of his religious upbringing. Yet today, for some reason, the thoughts and feelings had come to him out of nowhere, as if someone out there wanted him to remember and had the power to reach out to his soul. Joha still was not certain that the LORD existed, but after pondering the subject briefly, Joha determined that if He did exist, then He must no longer care for Joha. The LORD hadn’t done any good for Joha in his life, and now that Joha had become a thief, the LORD must care for him even less because of all the evil things he had done. Yes, this had to be true.
Joha sighed to himself. What had caused him to think of this all of a sudden? Even after reaching this conclusion, Joha couldn’t quite bring himself to shake the thoughts. Things had been so simple in those days; his mother and father had always taken him to worship. They had diligently followed all the ceremonious instructions of the Law (in fact, if he remembered correctly, the Passover celebration was to be held just a few days from now, though it certainly didn’t matter to him anymore). He had basically believed that he was a good person, one of the LORD’s chosen people, and would be going to heaven when he died. But now he hardly knew what to believe.
Things had become especially complicated in recent months, with the appearance of this Jesus person. Joha hadn’t seen him in person, but he had heard of the man’s teachings and doings—who in Rome hadn’t heard of him? The things he had heard about Jesus were very strange, and half of it was probably gossip and lies. After all, nobody had the power to walk on water or to heal sick people simply by touching them, and nobody thinking logically would believe those things for even a minute. But was it true that the man had the audacity to claim himself as the very son of God? Did he really have the boldness to criticize the religious leaders, and the authority to preach salvation and forgiveness of sin?
Forgiveness of sin…
Joha looked up. His feet had carried him to his home. Upon realizing this, all thoughts of religious conundrums dropped from his mind, as he made his way inside to count up his new fortune.
Pulling the small bag out from his coat, he spilled the contents out onto his table. Several small metallic shapes, each imprinted with Caesar’s likeness, fell out of the bag and were counted accordingly. When Joha had finished counting, the total came to seventy-three denarii. Seventy-three! It was certainly more than he had expected, more than he usually got. He smiled and mentally congratulated himself on making another week’s wages.
Let’s be honest. We probably all enjoy some stories or media that are not completely tame. Whether your taste is for moderate action violence, excessive blood and gore, or maybe some passionate moments that go further than some would be comfortable with, not everything we take in is 100% family friendly. Nor should it be, for as we get older and become more discerning we can hopefully come to appreciate books or movies that may have more mature content and themes without being negatively affected. But how far is too far? As readers, viewers, or writers, where do we draw the line when it comes to sensitive content or topics?
This is a very complex question, and obviously there isn’t one simple blanket answer that works for everyone. But it’s a question that I want to explore today. And, in keeping with my last couple of posts, I’ll use the recent superhero blockbuster film Deadpool–rated R for excessive violence, strong language, and some nudity–as an example. I’ve seen a lot of controversy going around the internet about this movie. But as both a Christian and a comic book fan, I have friends in both camps and everywhere in between, some claiming “THIS MOVIE IS FILTHY AND NOBODY SHOULD SEE IT!” while others retort, “THIS MOVIE IS AWESOME AND EVERYONE SHOULD SEE IT!” So should you see Deadpool or shouldn’t you? And why?
First, a disclaimer. Being a Christian, my moral beliefs will naturally affect my perceptions of this movie to some extent, and not everyone may share my views. Still, I believe that the question of mature content in a story is not just a religious or moral issue, but often a question of good storytelling quality as well. Through studying English at a Christian university, I’ve had the opportunity to formulate my views on this topic fairly well, but I believe some of these principles I’m going to mention can be relevant to any audience of movies or stories, regardless of beliefs.
Anyway, I’m part of a Facebook group for Christians to discuss movies and pop culture, and Deadpool‘s release nearly started a civil war between two opposing camps. But someone there recently had a good question. They asked, basically, “is it hypocritical for some of us to be hating on Deadpool while still enjoying movies like The Revenant? Both have very graphic, violent, and mature content. Is it okay to support one but not the other? Where should we draw the line?” And here was my response:
“I have a certain philosophy that I use for almost all art/media/culture these days. Taking a lot of English and writing classes at a Christian college helped me a lot with this. My belief is this: in regards to content in movies, etc., WHAT is portrayed is not as important as HOW it is portrayed. There can be quite a bit of dark or violent content, but the way it’s portrayed or the overall message can be either positive or negative.
For example: The Revenant contains very many graphic scenes, but I think it does a decent job of showing the consequences of those things. It shows how violence, rape, etc. only lead to more hatred and brokenness. It portrays those things but does not glorify them; it shows them as ugly, which they are. And [SPOILER ALERT] the protagonist makes a positive climactic decision in the end, so I think that helped it to have a *slightly* more positive and uplifting tone and theme overall.
On the other hand, the Deadpool movie (at least, based on what it looks like from the trailers) contains lots of violence and sex, but tries to pass them off as fun and funny. It glorifies evil behaviors for cheap entertainment. It takes serious topics that should be treated with reverence and makes them into a joke. This is a major part of why I generally do not enjoy or support Deadpool (whether in comics or movies).
If it helps, ask yourself this question for almost any media you encounter. Think about not just the content being portrayed, but how the overall theme and tone portray it. Even the Bible contains some very graphic descriptions of violence and sex, but it doesn’t portray those things in a positive way. Those are my thoughts at least.”
I have watched and enjoyed The Revenant, but admittedly have chosen not to watch Deadpool (at least not until maybe I can rent it on DVD). So I could be wrong about this movie. Maybe there is some deep purpose or relevant plot to it that I’ve missed out on so far. But, based on what I’ve seen and heard, it sure doesn’t seem that way. It seems like, “hey, let’s throw in a nude scene in a strip club just so we can put in more sex and give it an R rating! And don’t forget to make tasteless jokes against people while violently murdering them!” It uses violence, sex, and death not for well-crafted story or for thought-provoking discussion, but simply for cheap entertainment and laughs. And that’s why, both as a Christian and as a discerning consumer of media and culture, I can’t really give my approval to this movie.
But I guess I shouldn’t be surprised that the Deadpool film seems to be like this. Because, as I’ve alluded to in my last few posts, the Deadpool comics are largely the same. With perhaps some exceptions depending on the writer and the direction of the story, they fill their pages with mature, sometimes disturbing content on sensitive topics, and write it all off as a joke and a cool action-y comic for the kids.
I’ve noticed this tendency in Deadpool a number of times, but one particular instance was more disturbing than the rest. In one story arc, Deadpool decided that he had nothing to live for and wanted to die. But due to his healing powers, death does not come easily for him. So we got three whole issues about Deadpool trying to trick the Hulk into killing him. In other words, Deadpool exploited someone else (with what could be considered a mental condition) in his attempt to commit suicide, and the whole thing was made to look like a fun, funny, action-packed jaunt between two brightly colored superheroes, complete with witty dialogue and everything. Were these comics more violent than normal ones? Did they have too much bad language or sexual content? No, not really. But they took some very serious topics that affect a lot of real people–mental illness and suicide–and tried to turn them into slapstick mindless entertainment. I had to consider after that story whether or not I was really comfortable still reading Deadpool. And, while I do still read his comics occasionally, sometimes I’m still not sure.
For readers and viewers of stories, being able to discern the message behind the content–the “how” and “why” instead of just the “what”–is essential to understanding both the purpose and quality of the work. But consider this principle as creative writers, too. Including mature content or serious themes in your work is not wrong, but there’s definitely a right and a wrong way to do it. What messages will you take into your mind by what you read, watch, and listen to? And what messages will you send out to the world by what you write?
I’ve written about antiheroes before on this blog, about how their character motivations affect their actions and how their moral ambiguity can show us what we value as an audience and a culture. But lately I’ve been writing about a specific comic book antihero named Deadpool and why, despite all the recent hype, I don’t really think he’s that great of a character. In my last post I mentioned how I can’t really root for Deadpool much, because he’s not fighting for a good reason, but only for money and fun.
“But wait!” you say. “Deadpool is more of an antihero anyway! Isn’t that what he’s supposed to be like? Not every character has to be a completely moral hero. You can like him even though he’s morally ambiguous.”
Yes, and I do like a lot of morally ambiguous characters. As a comic book fan, I still enjoy and am often fascinated by the adventures of grim antiheroes such as Wolverine, the Punisher, and Rorschach. I also really enjoy(ed) shows like Breaking Bad and its successor, Better Call Saul, which feature protagonists who definitely walk the moral line and in many ways become worse as they go along. In the literary realm (which I majored in), I love the stories of authors such as Nathaniel Hawthorne, who frequently treat the theme of moral ambiguity and often feature heavily flawed protagonists. And yet I’m still not a huge supporter of Deadpool. Why?
In my analysis, there are two different types of morally ambiguous characters. Or, characters who we would label as “antiheroes” are considered such for one of two different reasons. There may be some overlap or some in-between now and again, but I think these two categories encompass quite a few “antihero” characters.
The first type of character has high ideals and goals (morally, philosophically, etc.), but they become antiheroes because they use morally questionable methods. They have good goals, intentions, and motivations, but maybe not good actions. This is the standard “chaotic good” character. I would posit that Wolverine, Punisher, and Rorschach all fit into this category, and even Batman sometimes does depending on how he’s written. They believe in fighting evil, but they use violence, brutality, and even lethal force to achieve that end. Even Walter White seems to fit this description, at least toward the beginning of his transformation; he has noble goals (providing for his family) but they lead him to evil actions (dealing drugs). For more on this type of character, see my previous post about monomania, or an obsessive goal that would lead someone to do almost anything, no matter how drastic or immoral, to achieve it. Personally, I find this type of character quite fascinating and compelling, because I like to see their determination and just how far they’ll go to carry out their mission.
The second type of antihero has no such noble goals or high ideals; they are antiheroes because they only serve their own interests without actively trying to commit either good or evil. This type of character is often labeled as “chaotic neutral,” or maybe even “true neutral.” Characters of this sort would include Han Solo when the audience first meets him in Star Wars, as a lone(ish) smuggler without much altruism. In discussing the show Heroes with some friends, I’ve placed Noah Bennet in the first category and Nathan Petrelli in this second, self-serving group.
This is also the category where I’d place Deadpool. He’s commonly labeled as a mercenary, so we know that he’s not supposed to fight for much of anything besides his own gain. In many iterations (although I listed some exceptions in my last post), he just fights for money, for fun, for personal vendettas, or for his own depraved, insane reasons. Personally, I don’t find this type of character nearly as interesting, because they tend to lack a strong or clear motivation. Unlike those rigidly determined characters I mentioned above, they just kind of meander and get into random adventures and do whatever feels best to them at the time. They lack a compelling reason to fight or for the audience to root for them.
Some people tell me, “if you object to Deadpool’s mature content, then you must only like morally good characters.” That’s not really true, but I do tend to favor characters who have good intentions. Even when their actions are severely flawed like in the examples above, I’m drawn in by their determination and by the inherent conflict between their motives and actions.
On the other hand, when a character has a less compelling motivation, I have to ask myself why I should even be rooting for him. If Deadpool is just killing people for money, then why should I support him over his enemies? Why should I care if he wins or loses? And for me, the answer is that I really don’t.
It’s often been said of writing fiction that desire plus obstacle equals story. In other words, give a character a strong desire, place obstacles in the way of that desire, and you have conflict, which is the basis of story. You have something happening that audiences will find interesting. But what happens if you take away that strong desire and throw in a halfhearted character who doesn’t care enough to take almost anything seriously? Where does the conflict come from then? Where is the compulsion? I think a lot of it gets lost.
Now, I’ve been saying that this preference is my own personal opinion. Maybe it’s just me and some people can enjoy the second kind of character without much motivation. But I think there’s a solid case in stories for the first kind (chaotic good) being better than the second kind (neutral).
You know why? Because Han Solo didn’t stay morally neutral for very long before he gained some more development and started fighting for a cause bigger than himself. And because even Deadpool, traditionally an amoral mercenary in the comics, has been altered for his huge film debut. In the movie, he’s not taking a hit on someone just for money–he’s trying to take revenge on someone who ruined his life. Yes, Deadpool is fighting against a bad guy, doing at least some form of good, and giving him an actual compelling character motivation! While he’s still a very flawed character certainly, this mission of his seems to place him more in the first category than the second. Filmmakers know that, for a big action movie, there needs to be a clear antagonist and a clear reason to root for the protagonist over that other person. They know that the antihero with a good(ish) mission is a lot more interesting than the antihero who just aimlessly does his own thing.
So that’s why I find the Punisher and others a lot more interesting than I find Deadpool. That’s why I have a hard time really rooting for Deadpool very often in the comics. But if I’m saying that the film version of Deadpool is closer to the kind of character I like, then why is it that I’m still not too excited about the film? Wait for my next post to find out.
What do you think? Is there really a huge distinction between different kinds of antiheroes? Who are your favorite antiheroes, and why do you find them compelling? Post your thoughts below.
Deadpool! Theaters, audiences, and social media posts have been abuzz lately with the newest Marvel superhero to hit the big screen. But aside from the normal hype about the action and laughs, the Deadpool movie has also gotten lots of attention–both positive and negative–for being R-rated due to violence, nudity, and excessive language. While the superhero genre was once thought to be good family-friendly fun for kids, that is certainly not the case with this offbeat, over-the-top antihero, leading to high praise and enjoyment from some longtime fans and harsh criticism from others.
As a longtime comic book fan among other fans who usually flock faithfully to each new superhero film, mine is an unpopular opinion, or at least so it seems in my circle of friends. But, while admitting that I haven’t actually seen the Deadpool movie yet (and probably won’t at least until I can rent it on DVD), I must admit that I’m not excited about or in favor of this one. People say it’s a very faithful representation of the character in the comics–but guess what? I don’t really like Deadpool much in the comics either. And I’d like to tell you why. Do my moral convictions and objections to mature content have something to do with it? Probably. But I think it goes beyond that into the realm of good storytelling and character development as well. Allow me to explain.
It’s a generally accepted rule of fiction that a protagonist has to be likeable in some way in order to garner the support of the audience. I even had one friend posit that “likeable” was not the criterion so much as “fascinating”; even if we don’t “like” the character per se, we as the audience have to find them compelling and interesting enough to care about for some reason or another. Feel free to form your own opinions, but I don’t see this quality much in Deadpool.
When I read a superhero comic book (which I do a lot), I’m looking for a reason to root for the hero, to think that he’s in some way the “good guy” (even if he’s a flawed character) and that he’s justified in fighting his enemies. But with Deadpool being a mercenary, commonly labeled as the “merc with the mouth,” I don’t get that sense of compelling support for a character. He’s only a mercenary, so he’s not fighting for some good or noble cause; a lot of times he’s just doing his own thing and fighting others for money or for fun. Therefore, I wonder, why should I root for him over his enemies? What makes him better or more likeable than the people he fights? Why should I care whether he wins or loses? I often can’t answer these questions with Deadpool.
Some people criticize me for this, saying that I must only like morally ideal characters such as Superman and Captain America. That criticism is simply not true, because I do often appreciate a certain kind of antihero; I find characters like Wolverine, the Punisher, and Rorschach all fascinating, despite or perhaps because of their moral ambiguity (more on this point later). But my thinking is that, if the character isn’t going to be morally good, then there’s got to be some other quality instead that makes them likeable or compelling to the audience. And, while some disagree, I still don’t really find that with Deadpool.
In internet arguments (some specifically in preparation for this blog post), I’ve asked my friends to explain to me what exactly they find appealing or likeable about Deadpool’s character. I haven’t gotten a very compelling answer (in my opinion). A lot of people say they like him primarily because he’s violent, crazy, crass, and crude. And that simply just doesn’t hold much appeal for me. While I admit that I sometimes enjoy Deadpool’s pop culture references and metahumor (even I don’t completely hate the character, although I do think he’s vastly overrated), I usually don’t enjoy crude jokes when they’re there just for cheap laughs and no story purpose. And I don’t really see much purpose or compelling character depth in an insane guy who just likes to shoot things for money or for fun. That kind of character could easily be a villain (such as the Joker or Carnage), but again I ask, why should I root for them as a hero? What deep or complex quality in this character’s psyche is supposed to make me root for him or support him in his random misadventures? For the most part, I haven’t found one.
“But wait!” you may say. “Deadpool actually is a complex character with a complex psychological disorder! And he actually is a hero sometimes!” To that, I would begrudgingly admit that you have a point, and after some recent social media discussions with friends, I’ve concluded that it largely depends on who’s writing Deadpool at the time. The thing about comics characters is that they change creative hands quite frequently, and so their portrayals aren’t always as consistent as some of us would like to think. For example, due to the recent Deadpool ongoing series beginning in 2012, I’ve developed a somewhat greater appreciation for him than I previously had. Among other reasons, the writers gave Deadpool both a wife and a long-lost daughter, two reasons for him to genuinely try to be more of a hero. And I was like, “Yes! Finally he has something interesting to fight for other than just money and tacos! Finally there’s a reason for me to care about his character a little bit!” I’ve also heard some people claim that Deadpool was a much more complex character following his initial creation in the ’90s, but that he got watered down when his popularity grew in the late 2000s. I can’t really speak to that personally, as I didn’t follow Deadpool much until around 2008, but it may be true that Deadpool’s history has had some deep character moments that I’m not familiar with.
However, when I say that I don’t care for Deadpool much, I’m talking about what has, for better or for worse, become the most common portrayal of Deadpool these days. And from what I’ve read and seen, I don’t think that’s the one who has a lot of deep character moments. Rather, it’s just the one who is known for, “YEAH! VIOLENCE AND SEX AND CHIMICHANGAS AND INSANITY FOR ABSOLUTELY NO STORY PURPOSE BUT JUST FOR RANDOM FUN!” It seems that whatever potential Deadpool may have for compelling plots or complex character development too often gets lost under the banal banner of utter ridiculousness that appeals only to the entertainment of our basest appetites. And, while I could be wrong, having not seen the movie yet, the trailers and reviews lead me to believe that this is the same version of Deadpool that has been translated to film.
This is why, from a storytelling perspective, I’m really not a big fan of Deadpool, or at least not the Deadpool we most commonly see. In my next few posts later this week, I plan to continue this discussion. I’d like to elaborate on why I like some antiheroes but still don’t like Deadpool (told you that was coming), and then on why I can appreciate some other very mature movies without appreciating Deadpool.
Do you agree or disagree? Is there more to Deadpool’s character that I haven’t considered and still should? Let me know in the comments.
In my last couple of posts, I’ve been dealing with the idea of originality in storytelling. It’s a huge idea, and I certainly don’t expect to uncover all the answers here, even as I’m wrapping up this three-part series. But it’s an idea that audiences (of books, movies, etc.) often pick up on quite a bit, whether positively or negatively, and so a serious writer should know how to address it to.
I looked at two recent blockbuster movies, neither of which is admittedly terribly original: first Star Wars: The Force Awakens, and then Marvel’s Ant-Man. I’ve argued that both films share significant parallels with the first film in their respective franchises (the original Star Wars and 2008’s Iron Man). And yet, while it’s a fine line and I may be nit-picking at the details just a bit, I still feel like one of the two films is simply following a formula in the way that much fiction does, while the other is more of an outright rehash of its predecessor. Is this a legitimate analysis? Let’s see if we can find out.
Of course, it’s true that very few films or stories these days are completely original. As a book I regard quite highly observes, “there is nothing new under the sun.” And as many people before me have stated, most stories are just combinations of old elements in a new or different way. I have found this to be true as a reader, a moviegoer, a student of literature, and as a creative writer. Universal concepts such as the hero’s journey and the monomyth work themselves and their familiar tropes into nearly every story, or at least into action movies with major elements like heroic quests, good versus evil, etc. I don’t deny that these elements show up pretty strongly in the Star Wars galaxy, the Marvel universe, and quite a few other places too.
Also, as I mentioned last time, Marvel admittedly has a proven formula that works, and most of their movies stick to it to some degree or another. They have a similar lighthearted tone, similar themes of saving the world from evil threats, and similar plot structures where the hero and his allies have to overcome impossible odds together (I say “his” because none of the Marvel Cinematic Universe solo films have featured a female main character…yet).
And while these elements are all significant parts of the movie, that may be where the similarities end. The settings of each are vastly different, ranging from modern-day America to deep space, from World War II to mythical realms. The same goes for the protagonists who inhabit each setting. Iron Man, Thor, the Hulk, and Captain America all have vastly different personalities and backgrounds, and Ant-Man’s is different from all of theirs as well. Although they face similar obstacles and overcome similar crises, the characters are each distinct and unique. In this sense, I might posit that the formula Marvel has become known for is comparable to the hero’s journey itself. They both refer to a certain set of tropes and plot structures, but those elements can be applied to nearly any type of hero in any type of setting. In that sense, one could argue that Ant-Man and the other Marvel movies copy elements from a certain common formula, but not necessarily from each other.
Also, one should remember that the Marvel movies are based on comic-book source material. There are a lot of vastly different characters in the comic book universe (all with a much more complicated history than any you’ll see onscreen), and so there’s quite a bit of material to draw from. That’s why, while Ant-Man featured Scott Lang as the main character, it also included Hank Pym, who in the comics was the original Ant-Man, and other characters who are recognizable to a comics fan like me, such as the Wasp and Cassie Lang (yes, even the little girl in the movie eventually becomes a superhero of her own). So does the comics background make the movies more original? No, not really, but it does mean that the movies draw elements from an outside source rather than directly ripping off each other. They have a wide range of source material to draw from because the comics have been going on for so long, and they can include characters and elements that aren’t necessarily central to the same plot formula that keeps recurring in merely the movies.
But, all of that being said about the Marvel movies, I still maintain that The Force Awakens was, to a large extent, a rehash of the original Star Wars, A New Hope. To reiterate, that doesn’t mean that I couldn’t enjoy the movie on some level, but just that it felt somewhat lacking in depth and ambition. It didn’t copy merely a formula such as the hero’s journey, but it copied one particular movie very directly. There was a desert planet that looked like Tattooine, but totally wasn’t Tattooine! And a planet-destroying weapon that’s kind of like the Death Star, but oh, it’s completely different from the Death Star! And Rey, while an interesting and compelling character so far, is to a large extent a female version of Luke Skywalker. I don’t want to give away too many details or spoilers, but see my last few posts for further details on how closely the two films and their plots mirror each other. In many ways it seems to me that they should have just called it A New A New Hope.
So yes, I am concluding that Ant-Man was a good (or at least better) kind of predictable, while The Force Awakens was more of a rehash than it should have been. Maybe I’m just splitting hairs here, as neither movie was completely original, and both fell into the category of “fun, but not amazingly awesome” for me. Of course, an ideal story, a truly memorable and groundbreaking one, might be more original than either one. But keep this difference in mind as you write. Audiences will usually accept it more or less if you follow a time-tested pattern such as the hero’s journey, but not necessarily if you borrow too heavily from one work in particular, like The Force Awakens did to A New Hope. (Then again, The Force Awakens is still proving to be amazingly successful at the box office, so despite the criticisms from a sizeable group of viewers, it’s clear a lot of people are still quite willing to accept it).
Finally, I’ll leave you with a quote about originality to ponder in your own writing. And though it’s a lofty ideal to reach, maybe this will help. C.S. Lewis says: “Even in literature and art, no man who bothers about originality will ever be original: whereas if you simply try to tell the truth (without caring twopence how often it has been told before) you will, nine times out of ten, become original without ever having noticed it.”