The abstract for my paper, “The Eschatological Lens of Saga,” has been accepted at the Mid-Atlantic Pop and American Culture Conference in November. I’ve been so excited for it that I even started to re-read one of my sources for the paper, Jürgen Moltmann’s Theology of Hope.
One quote struck me tonight, it reads,
“Theological concepts do not give a fixed for to reality, but they are expanded by hope and anticipate future being. They do not limp after reality and gaze on it with the night eyes of Minerva’s owl, but they illuminate reality by displaying its future. Their knowledge is grounded not in the will to dominate, but in love to the future of things” (36).
According to Moltmann, it’s not necessarily the historical relevance of how a theological concept came about, but what the concept is pointing towards. For example, to assume that everyone deserves hell because of original sin presents a certain future, which one can act out in the present by being selfish or only enjoying the company of fellow-heaven goers. Rather than actually caring for those in need. Our theology shows us what we want the future to be like through our present actions. For a similar reason, I love reading Saga. Unlike other futuristic sci-fi films, such as Her and Lucy, which only white people are represented, Saga writer Brian Vaughan and artist Fiona Staples construct a future-universe much like the present: full of diverse populations, creatures, and hopes. A world I love being in living in New York.
I guess my conclusion is: theological concepts and visioning another world are not so different after all.