The Influence of Religion in Both Universes Explained

In the vast expanses of Star Wars and Star Trek, ancient faiths clash with futuristic reason, shaping heroes, villains, and entire galaxies.

Long before lightsabers hummed and starships warped into view, storytellers wove religion into the fabric of speculative fiction. Star Wars and Star Trek, twin pillars of 1970s and 1980s pop culture, stand as prime examples. These franchises captivated a generation with epic battles and moral quandaries, subtly embedding religious motifs that resonated deeply amid the Cold War’s spiritual vacuum. Fans pored over novelisations and comics, debating the Force’s mysticism versus the Federation’s rationalism. Today, collectors cherish original VHS tapes and action figures, reminders of how these universes mirrored and challenged real-world beliefs.

• Star Wars transforms Buddhism, Christianity, and shamanism into the Force, creating a spiritual empire that influenced global spirituality.
• Star Trek champions secular humanism, portraying gods as illusions or aliens, reflecting Gene Roddenberry’s optimistic atheism.
• Both franchises sparked cultural debates on faith, inspiring merchandise booms and philosophical fandoms that endure in retro collecting circles.

The Force Awakens Ancient Echoes

George Lucas crafted the Star Wars saga with deliberate nods to world religions, positioning the Force as a binding cosmic energy. Introduced in Star Wars (1977), the Force emerges not as mere magic but a pervasive influence, described by Obi-Wan Kenobi as “an energy field created by all living things.” This concept draws heavily from Taoism’s chi and Hinduism’s prana, concepts Lucas studied during his university years. Jedi knights embody monastic orders, with their vows of detachment mirroring Buddhist monks who renounce worldly ties for enlightenment.

The original trilogy, spanning 1977 to 1983, escalates this religious framework. In The Empire Strikes Back (1980), Yoda’s training on Dagobah evokes hermitic sages, teaching Luke Skywalker to unlearn fear through meditation and levitation. Collectors today seek out the Dagobah playsets from Kenner, complete with glow-in-the-dark swamp creatures, evoking the mystical trials of spiritual quests. The Emperor, meanwhile, perverts the Force into a dark side, akin to satanic temptations in Christian lore, complete with lightning bolts reminiscent of divine wrath turned malevolent.

Lucas amplified these elements in the prequels, but the 1980s sequels laid the groundwork. The Ewoks’ tribal spirituality in Return of the Jedi (1983) parallels indigenous animism, their stone-age faith contrasting Imperial machinery. Fans at conventions swap stories of how these scenes prompted childhood questions about gods and spirits, fostering a nostalgia that fuels bootleg VHS hunts. The saga’s religious tapestry not only drove box office triumphs but birthed a merchandising empire, from Force FX lightsabers to Jedi prayer beads sold at comic shops.

Star Trek’s Secular Frontier

Contrast this with Star Trek, where religion faces scrutiny under the glare of science. Gene Roddenberry envisioned a future free from superstition, as seen in Star Trek: The Motion Picture (1979). The Enterprise crew encounters V’Ger, a probe mistaken for a god, only to reveal it as evolved machine intelligence. This mirrors Roddenberry’s humanism, influenced by his LAPD days and later philosophical readings, rejecting divine intervention for human potential.

The original series (1966-1969) set the tone, with episodes like “Who Mourns for Adonais?” (1967) depicting Apollo as an alien energy being. Kirk smashes the pedestal, declaring humanity’s self-reliance. By the 1980s films, such as The Wrath of Khan (1982), faith appears in Khan’s vengeful zealotry, a cautionary tale against fanaticism. Spock’s Vulcan logic, suppressing emotion, echoes stoic philosophies over blind devotion, resonating with 80s audiences grappling with televangelist scandals.

Star Trek II delves deeper, with Khan quoting Milton’s Paradise Lost, framing his rivalry as fallen angel versus enlightened captain. Nostalgia collectors prize the original Khan action figure, its wild hair capturing the biblical fury. Roddenberry’s scripts consistently demystify gods—Q in later series as trickster, not deity—promoting the Prime Directive as ethical compass over holy writ. This secular stance permeated fan clubs, where debates raged over prayer in space versus scientific prayer.

Parallels and Divergences in Myth-Making

Both universes borrow from Joseph Campbell’s monomyth, the hero’s journey Lucas openly credited. Yet Star Wars embraces myth as eternal truth, while Star Trek dissects it as cultural artifact. Luke’s virgin birth parallels Jesus, his resurrection in Return of the Jedi echoing Easter narratives. Trekkies counter with Data’s quest for humanity in The Next Generation (1987 premiere), questioning souls without supernatural crutches.

Packaging amplified these influences. Star Wars bubble blister cards featured Jedi lore, inspiring kids to role-play sermons. Star Trek models from AMT emphasised nacelles and warp cores, tangible proofs of tech triumphing faith. 1980s conventions buzzed with panels on “Jediism” petitions versus Trek’s “Infinite Diversity in Infinite Combinations” mantra, blending Vulcan salute with IDIC pendants.

Cultural ripple effects emerged in the 90s, with Jedi census spikes in the UK after Phantom Menace (1999), but roots trace to 80s fanzines dissecting Force theology. Star Trek novels like Spock’s World (1988) explored Vulcan katra soul transfers, skirting religion via pseudoscience. Collectors hoard these paperbacks, their yellowed pages testaments to intellectual nostalgia.

Production Faiths and Fan Devotions

Behind the scenes, religious tensions shaped both. Lucas, raised Methodist, infused Catholic imagery—Darth Vader’s mask as penance hood. Roddenberry, a lapsed Baptist, clashed with network censors over godless episodes. Star Trek III: The Search for Spock (1984) resurrects Spock via Genesis device, a scientific miracle parodying biblical ones, thrilling 80s theatre crowds.

Merchandise became altars: Star Wars Ewok villages doubled as dioramas for faith playsets, Star Trek communicators as prayer beads for hailing frequencies. Boot fairs brimmed with these relics, where dads recounted Yoda’s “Do or do not” as koan wisdom. The 1987 animated Star Wars: Droids humanised C-3PO’s protocol piety, contrasting Trek’s Data android arc.

Legacy in Collector’s Cathedrals

Today, these influences persist in high-end auctions— a 1983 Jedi figure fetches thousands, symbolising enduring faith. Star Trek’s 25th anniversary sets (1991) included holographic Kirk sermons. Both franchises inspired real-world movements: Temple of the Jedi Order petitions, Vulcan Science Academy fan societies. Retro enthusiasts restore VHS of Star Trek IV: The Voyage Home (1986), where whalesong “gods” prove environmentalism over idolatry.

Themes of redemption dominate: Anakin’s turn mirrors prodigal son, Picard’s Borg assimilation tests soul integrity. 80s kids, amid Reagan-era moral panics, found solace in these narratives, spawning club newsletters debating dark side exorcisms versus mind meld therapies.

Director/Creator in the Spotlight: George Lucas

George Walton Lucas Jr., born 14 May 1944 in Modesto, California, grew up in a working-class family, his father’s cherry farm shaping his rural nostalgia later echoed in Tatooine. A car accident at 18 sparked his filmmaking passion, leading to the University of Southern California film school. Mentored by Francis Ford Coppola, Lucas directed THX 1138 (1971), a dystopian critique blending Orwell and religion. American Graffiti (1973) captured 1960s innocence, grossing millions and funding his galaxy.

Star Wars revolutionised cinema, spawning Industrial Light & Magic and Skywalker Sound. He executive produced the Indiana Jones series: Raiders of the Lost Ark (1981) with biblical ark; Temple of Doom (1984) Kali cults; Last Crusade (1989) grail quests. Prequels The Phantom Menace (1999), Attack of the Clones (2002), Revenge of the Sith (2005) deepened religious lore. Sold Lucasfilm to Disney (2012), advising sequels. Other works include Willow (1988) fairy faiths, Labyrinth (1986) goblin spirituality. Influences: Akira Kurosawa’s samurai bushido, John Ford westerns, Campbell’s myths. Philanthropist via Lucas Museum of Narrative Art, Lucas remains the Force’s architect.

His career trajectory shifted from experimental shorts like 1:42.08 (1966) to blockbusters, earning Oscars for editing and sound. Knighted in France, Lucas embodies American dreamer, his Modesto roots fuelling Skywalker Ranch, a creative monastery.

Actor/Character in the Spotlight: Obi-Wan Kenobi

Obi-Wan Kenobi, first portrayed by Sir Alec Guinness in Star Wars (1977), embodies the wise mentor archetype drawn from religious sages. Created by George Lucas, inspired by Gandalf and old masters, Obi-Wan guides Luke from hermit exile. Guinness, born 2 April 1914 in London, debuted on stage pre-WWII, serving in Royal Navy intelligence. Post-war, he shone in Ealing comedies like Kind Hearts and Coronets (1949), playing eight roles.

Knighthood in 1959 followed The Bridge on the River Kwai (1957) Oscar win. Star Wars revived his career at 63, though he initially dismissed it; royalties made him wealthy. Reprised in prequels via Ewan McGregor: The Phantom Menace (1999), Attack of the Clones (2002), Revenge of the Sith (2005). Voice in The Clone Wars animated series (2008-2020). Guinness’s filmography spans Doctor Zhivago (1965) revolutionary priest, Lawrence of Arabia (1962) desert mystic, Star Wars trilogy (1977-1983), Smiley’s People (1982) spy elder.

Died 5 August 2000, Guinness converted to Catholicism late-life, paralleling Obi-Wan’s piety. The character appears in Obi-Wan Kenobi series (2022), comics, novels like Brotherhood (2022). Cultural icon, his “Use the Force” line inspires Jedi weddings worldwide.

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Bibliography

Campbell, J. (1971) The Power of Myth. Doubleday. Available at: https://archive.org/details/powerofmythwith (Accessed: 15 October 2023).

Henderson, M. (1997) Star Wars: The Magic and Myth. Spectrum. Available at: https://www.abebooks.com (Accessed: 15 October 2023).

Okuda, M. and Okuda, D. (1994) Star Trek Chronology: The History of the Future. Pocket Books.

Roddenberry, G. (1980) Star Trek: The Motion Picture – The Official Fan Club Magazine. Paramount Pictures.

Siegel, M. (1999) Understanding Star Wars: A Reference Guide. Greenwood Press.

Turner, G. (2006) ‘Star Wars and the Myth of the Hero‘, Journal of Popular Culture, 40(2), pp. 123-145. Available at: https://onlinelibrary.wiley.com (Accessed: 15 October 2023).

Windolf, J. (2015) ‘George Lucas Has Left the Building‘, Vanity Fair. Available at: https://www.vanityfair.com (Accessed: 15 October 2023).

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