A few weeks ago I was listening to a very engaging American RadioWorks documentary, rebroadcast from last October, “Japan’s Pop Power.” The show focused on the increasing cultural imports to ing from Japan, which by some estimations will soon dwarf industries typically associated with American-Japanese trade like automobiles, technology, and electronics. Japan’s economic success is a sure sign that human creativity and inventiveness are more important factors in human flourishing than mere material concerns or natural resources.

Some of mentary expounded the typical pattern and dynamics of a sub-culture movement ing mainstream. A great deal of the program focused on Japanese art, film, and media products, including the form of ic known as manga. Beginning with Mighty Morphin Power Rangers, the growing Japanese dominance of programming oriented toward youth is especially noteworthy (I’m a Yu-Gi-Oh! fan and my wife likes Ninja Warrior).

One portion of the program interested me especially because we have been discussing the importance of narrative here lately. As Chris Farrell and John Biewen spoke with an American teenager, it became clear that in part what draws our youth to contemporary forms of Japanese storytelling, beyond the inherent exotic elements, is the disjointedness of the narrative. It’s often a challenge to figure out who the main characters are and what they are doing. Some of the attraction is no doubt the mental agility that is required to induct a logical flow from the sometimes confusing morass.

But on another level, the attraction is undoubtedly a reflection of a post-modern mindset, which isn’t so concerned with logical plot progression. Japanese shows are renowned for their emphasis on glitzy effects, explosions, and action (oftentimes at the expense of sanity) such that they’ve e a staple of American parody:

It’s always a challenge for Christians to determine when and how to engage cultural movements. Some businesses and industries are without a doubt beyond the realm of moral permissibility, and the Christian is barred from licit participation. The message to those who are involved must be only, “Go and sin no more.”

But other times keen discernment is called for, and Christians at different times and places e up with very different answers about how to engage the broader culture. At some point soon, for instance, we’ll look in more detail at the Christian Reformed Church’s synodical reports from 1928 on “Worldly Amusements” and from 1966 on “Film Arts.”

One approach I’m familiar with in a professional capacity is the attempt by some Christian publishers to transform the manga genre into something that is a positive and constructive influence, conducive to Christian piety, rather than one that celebrates moral depravity (for which manga is infamously renowned).

Zondervan, for example, has newly available a number of new manga series aimed towards youth or “tweens” audiences (full disclosure: I provided theological review services for a number of these products). On example is a series that follows the fictional exploits of Branan, the son of the biblical judge Samson. Other series follow a team of time-travelling flies and relate the biblical narrative in the form of a Manga Bible (the latter produced by a Korean author/illustrator team).

Whether such ventures are judged to be successful depends on the standards applied by individual Christians. No doubt many will be thankful for offerings in a pop culture genre whose contents are sincerely counter-cultural.

What is certain is that there is no better place to address the needs for a new generation of readers eager for meaningful narrative than to rely upon mythopoeia and, indeed, the greatest story ever told, the “True Myth,” the biblical drama of creation, fall, redemption, and consummation.