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Conspiracy theory
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The theological paranoia driving conspiracy theory among Christians

There are moral and political consequences to conspiracy theories, especially among Christians. Jared Stacy probes the theological paranoia that underpins many of them.

Jared holds a Theological Ethics PhD from the University of Aberdeen. His research focuses conspiracy theory, politics, and evangelicalism.

a group of protestors holding placards walk down a city street.
A QAnon placard held aloft at the 2020 Stand Up X Rally in London.
Ehimetalor Akhere Unuabona on Unsplash.

From the very beginning, the church has contended with a conspiracy theory about its central claim – that Jesus rose from the dead.  Philosopher MRX Dentith says a conspiracy theory can be any interpretation of an event which cites a conspiracy as a chief cause. Of course, it’s more complex than this. Conspiracy theories today have moral and political consequences. They also carry social stigma. But, at least in this limited way, you can see how Christianity and conspiracy theory have always related to one another.  

The church’s earliest witness to the resurrection emerged alongside a counter-narrative that claimed his disciples stole the body. In other words, a conspiracy theory. Gospel writer Matthew explains how the chief priests paid off the Roman guards, who were keeping an eye on the tomb of Jesus, with a story. The story seemed legitimate because people trusted the authority of the priesthood. This proved to be a potent connection. Some 40-70 years later, Matthew tells his readers, “so they took the money and did as they were directed; and this story has been spread among the Jews to this day.”  This dynamic repays careful consideration as conspiracy theories take root in Christian communities today.  

Ceding the secular criticism 

It’s not hard to sympathize with those who are critical about a perceived link between a Christian imagination and a commitment to conspiracism which, in turn, breeds political extremism. Sociologically, research continues to confirm this link. But I’ve also heard it expressed like this. “If you actually believe that Jesus of Nazareth is the resurrected Son of God” some say, “then why wouldn’t you also believe there’s a pedophilia ring operating out of a Washington D.C. pizza parlor?”  

In this criticism, the resurrection of Jesus is implicated as being just as irrational as the QAnon conspiracy theory. In this sense, Q, the originator of the eponymous conspiracy theory, and Christ seem to hang together in their delusions. Is there anything which can separate them?  Edgar Welch heard enough. He had just spent three days deep in the QAnon rabbit hole watching video after video. Now, he decided, was the time to act. Grabbing his AR-15, he drove to the DC pizza joint Q claimed (and he believed) was a front for a Democrat pedophilia ring. But he never found the pedophilia ring. The only thing he found was a four-year prison sentence.  

Taking the claims of Jesus seriously invites us to consider an empty tomb in place of a pizza parlor. But, unlike Welch, this isn’t a place to which we can drive. I think David Bentley Hart is right when he observes there is something “positively absurd” in balancing the “whole edifice of eternal truth” on a “fleeting temporal episode” that occurred over the course of one weekend in Jerusalem. And without the fantasy of a time machine, without the possiblity of pure historical reconstruction, we stand looking across this void, wondering what exactly to make of the scandalous possibility of an empty tomb. 

The church exists in this void. 

 The church, if it is anything, is a sustained witness over time to an event and its meaning. Both of these matter. The church continues to interpret an incredible event: Jewish women showed up that Easter morning expecting to find Jesus’ body, and didn’t. But this event, to which the church attests, that of an empty tomb, is nothing without its meaning. The historical record alone can’t provoke the crisis which invites us to consider Jesus as anything more than a Jewish itinerrant rabbi excecuted by Rome as an insurrectionist. But the church's witness exists to provoke this crisis. It’s the same crisis obscured in Matthew’s time, as he reminded his readers that many people still believed the narrative of the authorities. 

Like the earliest witness to the resurrection, it is faith in the risen Lord that constitutes and determines the church, not merely the fact of an empty tomb. Many want to disrupt conspiracy theory in the church on rational grounds, without realizing that the central claim of the church itself can’t completely rest on this plot of land. This is why I so appreciated Alistair McGrath article on this site about the place of the Creeds in fuelling the Christian imagination.  

The Christian faith can’t be judged solely in rational terms without ceasing to be faith. And so, Christians cannot cede the resurrection of Jesus to the standards of rationality or bare history. But they can admit the criticism of outsiders who note that the Christian imagination can get bound up in an extremism in which conspiracy theories play a significant part. This is a moral and theological problem. But it has a solution.  

Whether the Salem Witch Trials of the early Americas, or communist conspiracy theories of the Cold War, a theological imagination lent these claims a potency which allowed them to persist within Christian community. 

Many conspiracy theories find a home in Christian communities today because of a certain Christian view of the world, not despite it. I call this view “theological paranoia”. It’s not a clinical diagnosis but a descriptive characterization. It shows how Christians of all theological persuasions can become purveyors of political conspiracy theory. History tells us as much, and theology is bound up in this problem. Whether the Salem Witch Trials of the early Americas, or communist conspiracy theories of the Cold War, a theological imagination lent these claims a potency which allowed them to persist within Christian community. Perhaps the chief conspiracy of this Christian imagination is Satan’s war on the faithful in the world. It gives Satan too much power. But such is the imagination of theological paranoia.  

Conspiracy theories become plausible in Christian communities where theological paranoia has been constructed upstream. This happens in a few ways. One way is seeing the conflict between the kingdoms of Christ and Satan underlying every argument, every distressing event. Another way is through uninterrogated institutional commitments, like the carousel of “threats” to the church. 

In the US context for example, white evangelicals (the tradition I grew up in) now make up one of the largest religious demographic segments when analyzing belief in QAnon. Q is the self-given title to an anonymous user who posted cryptic messages on an online forum. Q claims (among other things) that there is a pedophilia ring operating at the highest levels of the Democratic Party and the global elites. Soon, according to Q, a “great storm” will come to wipe away these elites. This is the world of Q: battle between good and evil with Donald Trump as the hero. These political contests all largely conform to the theological imagination that is prominent in white evangelical churches, which we have inherited and innovated, in which we see the church’s task not as witness, but as warrior. 

We seek certainty through developing alternative perspectives which keep our world controlled and comfortable.

This is theological paranoia, manifest. It is an imagination which forms people into this view of the world, and informs the practice of politics. It is a “split” world characterized by combat between Satan and Christ. Theologically, it’s as if Christ was given a tour of hell rather than bursting its gates. In theological paranoia, the resurrection of Jesus Christ functions merely as the ultimate “alternative take”. This is potent in digital ‘infostructure’ which produces information on a scale with which we have yet to grapple. Instead, we seek certainty through developing alternative perspectives which keep our world controlled and comfortable. Theological paranoia forms Christians who understand themselves as possessors of truth rather than humble participants in it. 

Theology against theory 

Despite all this, however, I think a richer Christian imagination can dispel and disrupt the theological paranoia which fuels the conspiracy theories in Christian communities. Where would we start this work of dismantling and divestment? I believe it starts fundamentally with how we think of God’s relation to creation, the universe and to us as human beings and some of us as Christians.  Christians occupy the same place in this cosmos as non-Christians, we are not gifted with omniscience.   Instead, all are invited into the church, the place and people built up and marked by faith. Here we aren’t met with anxiety so much as mystery, with a person not an index of answers. It is as theologian Brian Brock says, “the only thing the church knows that the world doesn’t, is who sustains it.” This observation isn’t meant to recast the church against the world. Quite the opposite, it’s an invitation to common ground. One which divests Christians of the claim that our faith is gnosis, some sort of secret knowledge which sets us on a higher plane, with wider vistas, that legitimizes our suspicions of clandestine evil, and perhaps most significantly, our justification for authority in political matters. No, to believe God controls the world is a claim conditioned by hope, not a claim to possession of or special access to knowledge.   

 Let me be clear: conspiracy  does take place in our social and political world.  But knowledge of these clandestine events is not the special prerogative of Christians, nor are such conspiracies as truly pervasive as the theories claim. At least not in a way which justifies developing our moral imagination by their claims 

The Christian faith is not a “secret” Christians possess. Faith is not an omniscience that gives the ability to see behind closed doors or justify spurious claims. Rather, the church is a community whose wisdom is a scandal and whose meaning is a mystery. But this mystery is one which envelops the cosmos. This leads Christians to see the world not as paranoid people, a world “split” between opposing conspiratorial forces known by the names we give them, like sacred or secular, public or private, church or world.  Rather, we can see the world and the church together in the process of being reconciled to God.  

The possibility and hope for unity admittedly comes from different places for the non-Christian and the Christian. But I see no reason why either should give way to conspiratorial paranoia which seems to justify all manner of suspicion and accusation. This ought to be, but is often not, especially true among Christians. 

If the root of conspiracy theory is anxiety over hidden evil, the Christian faith is rooted in joy over God’s manifested goodness. Theology can foster conspiracy theories when it allows this anxiety to outweigh its witness to joy. And while conspiracism does breed extremism made only more potent when it trades on theological authority, I hold out for the possibility that good theology itself can also dismantle the theological paranoia which has so determined the embrace of conspiracy theory by the Christian community. 

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Fun & play
8 min read

Table-top philosophy: role playing games and the identities they help construct

A once derided fantasy genre now influences creative media - from The Big Bang Theory to Stranger Things.

Harry Gibbins  is a doctoral researcher at the University of Aberdeen. His PhD concerns the intersection between autism and Christian ministry.

Three teenage boys rise up from a table-top game and celebrate a victory.
Playing D&D in Stranger Things.

Picture this: no longer are you sitting at a computer desk or staring at your phone during your commute. Instead, you are an intrepid explorer, a noble warrior, or a cunning thief. You have left behind the mundanity and anxieties of the 'real world'. Now, you are a protagonist in a new story.  

Your choices will shape the world around you; your actions will be written into legend and recounted for centuries. But this is not done in isolation. You are together with friends. You work as a team; you bond, laugh, and celebrate each other’s achievements as a unit. You are not alone; you are an adventuring party.  

Behind the grey skyline through the condensation-heavy glass of the train window is a world of infinite possibilities. Here, in your mind’s eye, you shape reality. Here, you become the person that, right now, you want to be. There are no limitations beyond what you believe is possible. You are the captain steering the ship into uncharted waters where the aim is to share a good yarn with your friends. 

There's a fine line between fantasy as a genre and escapism as a psychology. As we parade myth and legend within our respective cultures and contexts, we find something of ourselves. We read of Frodo Baggins, the underdog who takes on a responsibility of epic proportions, and see qualities we want to inhabit. We hear of Iron Man's sacrifice to save friends and see something of our own relationships. This is not to say we literally aim to overthrow a dark lord or defeat a purple space utilitarian, but we see the humanity reflected within relatable moments through the fiction. The story we read or watch somewhat touches the cadence of the 'real world' no matter how fantastical. 

In an age where this cadence and its story-focused elements are twisted to become more marketable, where is the authenticity? How do we begin to tell our own stories? Is there a way in which our stories can speak of this cadence of the ‘real world’ without the necessity to satisfy business? 

As the game creates a safe environment in which players can enact hypothetical scenarios. In other words, to fantasise about who they are and the world around them. Consequently, there is an opportunity to ask again: "What story do I want to tell". 

Enter stage left: Table-top Role-playing Games (TTRPGs). The picture painted in the opening paragraph is steeped in my experience of commuting. Although not a universal experience, I found commuting sucked all life from my world. If there is a hell, perhaps it is a continuous never-ending loop of the Northern Line. I found myself recounting the previous evening, time spent with friends playing the fantasy TTRPG Dungeons and Dragons, reflecting on what I had learnt from such an experience. As a theologian, I would ask if there was something of myself that I was seeing in the stories told. When I returned next time, where did I want this story to take me next? What story do I want to tell? 

Dungeons and Dragons, or D&D, has been propelled into the cultural zeitgeist in the last decade. Featured in popular television shows such as The Big Bang Theory and Stranger Things, D&D has emerged out of nerd basements and into the mainstream. No longer is D&D seen as something exclusively for 'mega-nerds'. It now stands shoulder-to-shoulder with other culture-shaping fictions, such as The Lord of the Rings and the Marvel Cinematic Universe.  

In 2014, the fifth edition of D&D and aimed to streamline and tighten up the accessibility of the game whilst promoting creative and complex storytelling as a valued method of playing. In its earliest editions, D&D didn't care for character backstory or where the dungeon came from. A player’s aim was simply to kill some baddies and find treasure. However, today’s D&D aims for more nuance. Psychologists Sören Henrich and Rachel Worthington highlight that this has allowed D&D to have a genuine therapeutic application.  As the game creates a safe environment in which players can enact hypothetical scenarios. In other words, to fantasise about who they are and the world around them. Consequently, there is an opportunity to ask again: "What story do I want to tell". 

Perhaps the most obvious example of this philosophy in action is the role D&D takes in Netflix's Stranger Things. The show is not explicitly about D&D. Rather, the game is used as an illustrative tool, showing the actions of the characters, as well as providing a metaphor for the mystery they uncover and the journey they go on.  

The show opens with four young boys playing a game of D&D in their parents' basement. The players discover a Demogorgon, a classic D&D monster, and they must work together to defeat it. However, their immaturity gets the better of them and they fail. In D&D, player characters take on different roles; it is only by working together that their various weakness can be supported, and the villain defeated. This is the lesson that the boys learn: teamwork. It is only when they learn to support one another that are they able to defeat the 'real-life' Demogorgon they discover in their small American suburb. 

Nine belonged with his friends, he was not simply 'put up with'. His style of encountering problems and solving puzzles strengthens the whole team. Nine was not a burden. 

In Stranger Things we find D&D acting not just as a thematic motif, but also as illustrative of a journey the young people go on. So, what are the philosophical mechanics behind this? How is D&D as a phenomenon transformative and illustrative in our present reality? Philosophers describe this sort of thinking as 'Phenomenology'. In simplistic terms, it concerns the lived experience of a phenomenon, seeking to uncover its essence. What actually makes that 'thing' you experience a 'thing' at all? Are there attributes that are common across all experiences of that phenomenon? Or, more likely, is there a rich and informative complexity to its innermost workings?  

Whilst I am far from describing what the essence of D&D as a phenomenon is, I can speak of my own lived experience in the hope that it demonstrates how D&D is the transformative tool Stranger Things positions it to be. I hope that this not only illustrates my argument, even if it is as simple as “D&D is good”, but also provides a window in which my own story can be understood. 

I have written elsewhere about the role D&D has played in my theological evaluation of complex theoretical ideas. It has ultimately shaped the way I research and encounter complex questions. However, I want to highlight something different. In my other work, I spoke of a character I played for three years, a Tabaxi Paladin named 'Nine'. Nine was somewhat of an experiment. After I was diagnosed as autistic, I found great difficulty in knowing who I was. Are there parts of me that are not autistic? Am I being autistic subconsciously? Or am I actively choosing to act in a way that a clinical professional has decided is autistic? Who am I? Nine was to be a method of exploring such questions. I wrote Nine as autistic in a way that was a somewhat exaggerated version of myself. Yet, there was a distinct difference. Nine was the 'me' who had come to terms with being autistic; Nine knew who he was and was proud of it; Nine just simply was Nine.  

This was obviously not a perfect solution; the world of D&D does not have the clinical vocabulary to describe autism. In fact, whether autism exists in a fantasy world is kind of a fuzzy question. Was I inventing autism within the world by playing a character in such a way? Or is there ever a way I could not play a character as autistic due to being autistic myself? What emerged through Nine's interactions was something that, on a very personal level, I found deeply satisfying, illuminative, and transformative.  

Nine developed, some might say unsurprisingly, relationships among the other player characters. He lived as I do, as a social creature in a social world. Whilst his interactions were sometimes unusual, perhaps in much the same way as my own, his friend still came to love him. Following the framework of theologian John Swinton, Nine was more than just included; Nine belonged to this group simply because in his absence he would be missed. Once I had realised this I was taken somewhat by surprise. The differences between Nine and the other characters still mattered, but they were not barriers. Nine was valued, not someone who just was difficult to approach, off in his own little world, or obsessed and hyper-fixated. Rather, he was one part of the whole. Nine belonged with his friends, he was not simply 'put up with'. His style of encountering problems and solving puzzles strengthens the whole team. Nine was not a burden.

D&D highlights the strength storytelling, narrative building, and art in all its forms, have for those who are coming to terms with their identity.

This was where the transformation occurred. I realised that I was the Nine who did not have this understanding. Harry erroneously believed that he did not belong when really he always did. Harry was embarrassed about his challenges with social engagement, his obliviousness to the world around him, and his inability to get through a conversation without talking about Doctor Who. Yet, here I was, among friends who cherished and valued me. Here, I truly did belong, and it was Nine who taught me that.  

 I hope that this illustrates just a snippet of the potential this game, and games like it, have to offer. I believe there is much more to be said about the philosophical truth spoken through D&D in much the same way we talk about other forms of art or narrative. This is just a portion of what is possible, and I hope I learn much more about myself as I continue along these adventures with my friends. I would encourage anyone reading to give D&D a go. Although, I am aware I have had a very specific and positive experience that is not universal among players of the game. Perhaps the focus should not be that D&D is the best tool for therapeutic action. Rather, D&D highlights the strength storytelling, narrative building, and art in all its forms, have for those who are coming to terms with their identity. Whilst we may be tempted to describe ourselves simply, as I was when I was diagnosed as autistic, D&D reminds us that the stories our lives tell will always demonstrate more depth. Our lives our simply stories that we are constantly engaged with and that we are always telling.