As the Left Behind series rounds the far curve and starts plodding slowly homeward, one cannot help but reflect on its place amongst fiction series of the modern day. One such series that has gained widespread acclaim as a true must-read for fans of the science fiction genre in particular is the "Gap" series by Stephen R. Donaldson. Thus, your humble reviewer attempts to compare the first half of the Left Behind Series to the Gap series on some key elements.

Please note that said reviewer realizes fully that the Left Behind series, though already at eight books, is only slightly over half-way through its run. The Gap series, having been completed in five, thus stands with a natural advantage in being a "complete" story. Also note that this comparison includes only the LB books through #7, not including the latest, The Mark.

Details of Left Behind
The Left Behind series by Tim Lahaye and Jerry Jenkins stands at the aforementioned eight volumes. Each volume comprises approximately three-hundred to four-hundred pages.

The series contemplates the world and a string of newly converted Christians during the tribulation period leading up to the return of Christ. The books are based upon a literalist interpretation of the Biblical account in Revelation, with certain liberties taken by the authors to embellish the story. At last report, the series is slated to include a total of fourteen books. Certain critics, both secular and Christian, have pointed to the books as a good, wholesome read in the fantasy genre for those not buying into the literalist premise. Other critics have harshly opposed the books as weak literature and questionable theology.  

Comparison #2 - Plotting and Characterization
In LB, the plot rushes forward like a drunken senior on prom night. Hordes of locusts appear, sting people into submission, and are seemingly gone before they arrived. Gap is more leisurely, taking its time to explore minute aspects of the situations going on. Explorations into scenes between the Amnion and humans are explored in detail, until the reader squirms at the cold precision of the aliens.

The LB characters serve as pawns to push the action along. Most of them have kiddie-pool depth of character. Thus, when their flaws are brought out in an attempt to make them seem well- rounded, it instead makes them seem strange. There is not enough basis in the characters themselves for us to understand the flaws and sympathize. When Rayford starts acting strangely distant and aloof from the group, he merely seems distant and aloof, not troubled or conflicted.

Gap characters are deep and multi-faceted. True, we will never fully know the mind of criminal Angus Thermopyle, but the asides into his childhood, held down by an abusive and psychotic mother, give insight into his psyche. Morn Hyland in particular, with her troubled brain addled by "gap sickness" is a character with deeply disturbing and haunting thoughts.

Comparison #3 - Realism
It may seem overly harsh, but LB's realism is so lacking that it is nearly impossible to suspend disbelief. Perhaps this is the biggest flaw of the series. Violent scenes are described with blood and gunfire, but there is no sense of horror or grotesque consequences presented. The books summarize the ugly parts quickly and move on. The impact is thus lessened. In addition, the language of the characters - even of the "bad guys" - is so toned down as to be ridiculous. One must understand that LaHaye and Jenkins are targeting an easily offended market, but the complete and total absence of any strong language, sexual connotations, or other debauched behavior by any character simply candy-coats the story too much. Most people respond to earthquakes and floods with something stronger than a,"Golly, there goes my darn house!"

Stephen R. Donaldson take entirely the opposite approach in Gap. His villains are bad, and there is no mistaking this. They rape, kill, hurt, curse, main, steal and pillage with wild abandon and make no excuses. Although it may be over-the-top, there is real sense of disgust and outrage that builds toward these actions as the books go on. Furthermore, the heroes of the books are replete with their own flaws, showing none of the immunity to anti-social behavior of the LB folks. True, the series is in the future and in space, so realism really goes out the window, but at least the characters act in a semi-realistic way to the things confronting them.

Another work about realism - names. In Gap, we have some names that are futuristic (Angus Thermopyle), some that seem normal (Davies Hyland) and others that point to an ethnically mixed future (Hashi Lebwohl). They seem appropriate to a more multicultural and scientific future. In LB, we are in the current day. Thus, names like Chloe Steele, Rayford Steele and Cameron "Buck" Williams have me checking the cover to make sure that I am not reading a discarded "As the World Turns" script.

Comparison #4 - Compelling Story and Dramatic Tension
Things happen so fast in the LB books over such a short amount of text that the story pushes itself forward. It is hard not to be drawn in by this, merely because in the space of a few pages there are a dozen different things that begin and end. The presence of characters flies by in rapid succession, and if you skip a page you might miss them. This is certainly one way to keep things moving, but it sucks the depth out of the story and makes individual events less compelling. It's like flying through the supermarket on the front of a bus and trying to remember what products you saw. Dramatic tension itself is not bred easily in an environment such as this, as lead-ins are too short to build anticipation. Drama is built by stopping a book at a crucial moment and making readers wait six months for the next serial installment. Within any individual book there is roughly the dramatic tension of a documentary on oral hygiene.

In Gap, the plot is so intricate and the intrigue so deep and leveled, that it can at times get confusing. It takes a while to get into the story, as the first book serves as a prelude. By the time the third book is broached, the story is moving along in several directions, and the reader is in the midst of the second-guessing of the characters. It takes concentration to keep it all straight, but for the studious it creates an atmosphere of pulling one from chapter to chapter. There are not really end-of-book cliffhangers, just a good, solid story throughout.

Comparison #5 - Knowing When to End It
To be fair, LB is only half-over. Thus, who is to say what the ending will bring? Thus far, however, LaHaye and Jenkins prove unwilling to let any loose end remain dangling. One imagines that the final book will have a definite ending with no chance for any alternate interpretation. So far, this is the case, since motives, actions and resolutions are spelled out in such stark black-and-white that creativity has no place. Indeed, it appears that the authors do know when to end it - at the end of the scheduled 14 books. We hope.

The Gap series ends with many things resolved, but not with a neatly wrapped package. Without giving away too many details, there are actions unexplained and many plot elements left open for the reader's interpretation. Despite not following every path to the end, the final pages of the series are deeply satisfying and perfect in not attempting to insult the reader's intelligence.


Comparison #6 - Cover Art (Throwing LB a bone)
The Gap books have space ships as cover art. Nice, but a little cheesy. The LB books have cool black covers with the title in nifty type and glowing lava-like colors.

Final Summary
To sum the LB series: The story is spread across numerous short-ish volumes that look longer than they are. Plotting takes a rapid-fire approach to storytelling with little character development. Realism is lacking at best. Dramatic tension takes only the form of end-of-book cliffs. The story goes on with event after event resolved completely and quickly, with no easy end in sight. The cover art is really nice.

To sum the Gap series: There are five books packed with solid story. Plotting is slow-paced but intricate and characters are richly developed. Realism is extreme and offensive enough to inspire a real emotional response. Drama is high throughout with the skilled plot-weaving. The story and various elements change directions, sometimes end and sometimes leave open possibilities. The cover art is merely average.

So which series is the best fiction for the time and money? Let the reader decide.

by Jeff Edwards