That Superman debate: Moses or the Messiah?

Without a doubt, it's one of the most famous and magical incantations in American pop culture. "Look, up in the sky!"

"It's a bird!"

"It's a plane!"

The last line in this mass-media chant is, of course: "It's Superman!"

However, whenever a major product is released in the Superman canon -- such as "Man of Steel," which grossed $113 million on its first weekend -- many fan boys and scribes will immediately begin arguing about two other potential identities, symbolically speaking, for their favorite superhero.

Visit almost any online Superman forum and "someone is going to be saying, 'It's Jesus!' and someone else will immediately respond, 'It's Moses!' and then back and forth it'll go, 'Jesus,' 'Moses,' 'Jesus,' 'Moses' on and on," said the Rev. Gary D. Robinson, pastor of North Side Christian Church in Xenia, Ohio.

The 58-year-old Robinson freely admits he is a passionate participant in these kinds of debates, both as the author of the book "Superman on Earth: Reflections of a Fan" and the owner of a inch-plus scar on his left arm created by his attempt -- at age 6 -- to fly like Superman through a large glass window.

Like many theologically wired fans, he can quote the key Superman facts, chapter and verse. He thinks the parallels are fun, but shouldn't be taken too seriously.

"I see the Superman myth as a shadow thrown by the Light itself," he said, referring biblical accounts of the life of Jesus. "In it's own way, it's a crude substitute ... but there is no question that there is some kind of allegory in there."

First of all, the future Superman was born on the doomed planet Krypton into the "House of El" and, in Hebrew, "El" -- from a root word that means strength and might -- is one word for God. His father gave him the name Kal-El, or in Superman lore "Son of El," a kind of science-fiction parallel to names such as Dani-el or Samu-el.

Then again, his mother and father saved their baby from persecution by casting him into the river of time and space, hoping he would be a source of hope and protection for others. They used a rocket, not a wicker basket, but it's hard to miss the Moses connection. It also helps to know that writer Jerry Siegel and artist Joe Shuster -- both were sons of Jewish refugees from Europe -- created Superman in the tense 1930s, inspired in part by anti-Semitism at home and abroad.

Experts in both camps can offer litanies of similar details. Meanwhile, "Man of Steel" director Zack Synder has packed his film with iconic images and symbolic facts. The film stresses that Clark Kent soars into his Superman role at age 33, the same tradition says Jesus began his public ministry. Told by the techno-ghost of his father, "You can save them. You can save all of them," Superman pauses in space -- arms extended and legs together, as if on a cross -- before racing back to fight a demonic figure who is attacking in the earth.

In one audacious scene, Superman visits his local church in Kansas while wrestling with the question of whether he should willingly surrender his own life so that humanity can be saved. Over his head is a stained-class window of Jesus praying in the Garden of Gethsemane, before his crucifixion.

The question, of course, is how seriously to take this often dark and humorless video-game era salute to "The Matrix," "Avatar," "The Dark Knight" and hosts of other recent blockbusters, with a few undeniable 9/11 images in the mix as well. "Popcorn and a (World)view" columnist Drew Zahn argued: "Though I won't claim it was written by an author the caliber of C.S. Lewis, nonetheless, the metaphors and messages make 'Man of Steel' a sort of 'Chronicles of Narnia' for an 'Avengers' generation."

Robinson is convinced Superman and other pop-culture myths are fine hooks for conversations about deeper issues and truths. But, in the end, how can ordinary women and men, struggling with the pitfalls of daily life, form a healing bond with Superman?

"Superman is a poor substitute for the Gospel," he said. "Superman offers himself to save our lives. Jesus wants to save us forever, for all of eternity. ... In the end, there's only one real story and we keep trying to create new variations on it."

Zombies are US, 2013 edition

It seems to happen whenever Steve Beard hangs out with friends -- especially folks who don't go to church -- talking about movies, television and whatever else is on their minds. "It may take five minutes or it may take as long as 10, but sooner or later you're going to run into some kind zombie comment," said Beard, editor of Good News, a magazine for United Methodist evangelicals. He is also known for writing about faith and popular culture.

"Someone will say something like, 'When the zombie apocalypse occurs, we need to make sure we're all at so-and-so's house so we can stick together.' It's all a wink and a nod kind of deal, but the point is that this whole zombie thing has become a part of the language of our time."

Tales of the living dead began in Western Africa and Haiti and these movies have been around as long as Hollywood has been making B-grade flicks. However, the modern zombie era began with filmmaker George A. Romero's classic "Night of the Living Dead" in 1968, which led to his "Dawn of the Dead" and "Day of the Dead." Other directors followed suit, with hits such as "28 Days Later," "Zombieland," "The Evil Dead" and "Shaun of the Dead." Next up, Brad Pitt in the $170 million-dollar epic "World War Z," due June 21, which could turn into a multi-movie franchise.

In bookstores, classic literature lovers will encounter a series of postmodern volumes clustered under the title "Pride and Prejudice and Zombies." Also, videogame fans have purchased more than 50 million copies of the Resident Evil series and these games have inspired countless others.

But anyone who is interested in the worldview -- if not the theology -- of zombie life must come to grips with the cable-television parables offered in the AMC series "The Walking Dead." This phenomenon, said Beard, has become so influential that it cannot be ignored by clergy, especially those interested in the kinds of spiritual questions that haunt people who avoid church pews.

Truth is, "The Walking Dead" is not "about zombies. It's a show about people who are trying to figure out the difference between mere survival and truly living," he stressed, in a telephone interview. "How do you decide what is right and what is wrong? How do you stay sane, in a world that has gone crazy? ...

"Where is God in all of this? That's the unspoken question."

In his classic book "Gospel of the Living Dead," religious studies scholar Kim Paffenroth of Iona College argued that Romero's zombie movies borrowed from one of the key insights found in Dante's "Inferno" -- that hell's worst torments are those humanity creates on its own, such as boredom, loneliness, materialism and, ultimately, separation from God.

As a final touch of primal spirituality, Romero -- who was raised Catholic -- added cannibalism to the zombie myth.

"Zombies partially eat the living. But they actually only eat a small amount, thereby leaving the rest of the person intact to become a zombie, get up, and attack and kill more people, who then likewise become zombies," argued Paffenroth. Thus, the "whole theme of cannibalism seems added for its symbolism, showing what humans would degenerate into in their more primitive, zombie state."

The point, he added, is that "we, humans, not just zombies, prey on each other, depend on each other for our pathetic and parasitic existence, and thrive on each others' misery."

This is why, said Beard, far too many women and men seem to be staggering through life today like listless shoppers wandering in shopping malls, their eyes locked on their smartphones instead of the faces of loved ones. Far too often their lives are packed with stuff, but empty of meaning.

Romero and his artistic disciples keep asking a brutal question: This is living?

"One of the big questions in zombie stories is the whole 'Do zombies have souls?' thing," said Beard. "But that kind of question only leads to more and more questions, which is what we keep seeing in 'The Walking Dead' and other zombie stories. ...

"If zombies no longer have souls, what does it mean for a human being to be soul-less? If you have a soul, how do you hang on to it? Why does it seem that so many people today seem to have lost their souls?"