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ABSTRACT

The Four Horsemen in Popular Culture

This paper examines the popularity of the Four Horsemen within media today by looking at the 

television shows Supernatural and Sleepy Hollow. These two examples of Four Horsemen 

portrayals allow viewers to imagine a hopeful victory over the apocalypse that other depictions 

of apocalyptic events don’t allow for. This paper studies the history of the Book of Revelation 

and its depiction in popular culture to better understand the importance of these optimistic 

outcomes in which apocalypse is averted.

INTRODUCTION 

  The Book of Revelation has always been a controversial text of the Bible. Many 

churches don’t teach it, or they skim over it. In his book, Approaching Hoofbeats: The Four 

Horsemen of the Apocalypse, Billy Graham states, “Often in the history of the church the Book 

of Revelation has been neglected, misunderstood, or misinterpreted by far too many 

Christians” (18). Churches, while thoroughly examining much of the Bible, seem to ignore or 

put aside this specific book: throughout my research on this topic, I have talked to multiple 

churchgoers who do not know much about the Book of Revelation. So why does it play 

such a huge role in popular culture? I have encountered countless television shows, movies, 

books, and other forms of contemporary media that portray this biblical apocalypse in some 

way, and while Revelation has plenty to offer, much of the media focuses on only one of its 

key aspects: the Four Horsemen of the Apocalypse.

 In portrayals of the Four Horsemen, screenwriters often depict them as tangible 

people, who are a main, if not the sole, cause of the apocalypse. In these interpretations, 

the main characters tend to have to fight the Four Horsemen and defeat them to stop the 

apocalypse. I believe the Four Horsemen are not only popular due to the prevalence of 

Christianity in the United States but also due to the fact that they are represented as a 

power that can be defeated. In other media about the apocalypse, the cause of the 

apocalypse tends to be actions that are difficult to prevent, such as global warming or

incurable diseases. In the shows I examine in this paper, the Four Horsemen offer a chance

by Taylor Baugh, Ball State University



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for victory and a physical end to an apocalypse. In essence, popular depictions of Four 

Horsemen give our society a narrative hope that we need, which other forms of fictional 

apocalypse do not provide.

 With much of our media being infused with negative stories about potentially 

apocalyptic terrors like nuclear war or climate change, this interpretation of the Four 

Horsemen creates optimism for our future. However, this may seem paradoxical, as our 

society doesn’t want the events in the Book of Revelation to actually happen. It’s something 

that frightens most people. Many churches don’t focus on the book because it is such a 

negative text to study in comparison to many of the other books of the Bible, which offer 

a more positive message of forgiveness, hope, and joy.  However, throughout time, various 

groups have read the Book of Revelation differently. Each denomination has their own 

insight into what the book is and how important it is to their followers. According to Robin 

Barnes, “Catholics generally accepted the book’s canonicity but distrusted it, whereas 

Protestants were more actively devoted to defending it as a source of prophetic insight” 

(266). As we can see from these particular groups, the opinion on the Book of Revelation has 

always varied from one group to another. With these opinions being so different, it is easy 

to see the ways that different denominations may apply the Book of Revelation and the Four 

Horsemen to their lives and the world around them. These opinions on the Book of 

Revelation have not gone away and can be seen in the ways we address the book in our 

popular media today. However, contemporary media looks at the Book of Revelation from a 

different, more secular, perspective and with different expectations, both of which can 

facilitate a positive end to an apocalypse.

 The actual Book of Revelation doesn’t end with a seed of hope for our current world; 

rather, the book is filled with complete despair for the future of most of humanity. The 

current world we live in is completely destroyed, and the only hope left is in a place called 

New Jerusalem, a city where God has brought all of His faithful followers (King James Version, 

Rev. 21). There is so much destruction and despair in Revelation’s apocalyptic world that it 

is not something that people would want to endure, and the focus of the text revolves closely 

around these horrors that humanity experiences. However, when Revelation’s apocalypse is 

depicted within more secular shows like Supernatural and Sleepy Hollow, the focus is rather 

on preventing the destruction of our current world. With Christianity being so prevalent in 

American culture, it makes sense that shows like these would feature many depictions of 

and references from the Bible, but these portrayals of Revelation on television do not truly 

match those of the Bible, as these new portrayals, rather than stressing the terrors of an



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apocalyptic future, suggest that we shouldn’t take such a gloomy view of the future too 

seriously. As these shows’ apocalyptic interpretations demonstrate, people seem to be 

pushing against the gloomy biblical idea of apocalypse, wanting to believe instead that there 

is a way to survive. The screenwriters for these shows seem to be critiquing the Book of 

Revelation and those that take it too seriously by creating fantastical stories for their 

characters to fight through, and one way in which these screenwriters accomplish this is by 

humanizing the Four Horsemen. In essence, popular media is giving us an outlet to imagine 

a way out of such a terrifying end by depicting the Four Horsemen as conquerable beings. 

By looking at the history of the Book of Revelation and at the ways pop culture affects our 

society, as well as at examples of the Four Horsemen from Supernatural and Sleepy Hollow, I 

will be discussing this hope for human victory and survival that these depictions of the Four 

Horsemen provide.

HISTORY OF THE BOOK OF REVELATION 

AND THE FOUR HORSEMEN

 When thinking about the Book of Revelation, it’s important to note its origin and 

the origin of the Four Horsemen. According to Revelation itself, the book came about when 

John the Apostle recorded a vision given to him by God, upon which he sent the book to 

the seven churches of God (Graham 17-18). The Four Horsemen of the Apocalypse are 

introduced in Revelation 6:1-8, when the first four seals of the apocalypse are broken by the 

Lamb. The Four Horsemen each have their own significance and name: Famine, War, 

Pestilence or Conquest, and Death. The Four Horsemen ride out one-by-one as they are 

called by “the four living creatures” and as their respective seal is broken (King James Version, 

Rev. 6). The first Horseman carries a bow, wears a crown and is on a white horse; he is 

generally seen as Conquest, though some interpretations give him the name Pestilence. 

The second Horseman rides a red horse and represents War. The third rides a black horse 

and carries a pair of balances; he is given the name Famine. The final Horseman rides a 

pale horse and is given the name Death. This final Horseman is most popular within the 

television shows I analyze. In the Book of Revelation, there is no escape from the Four 

Horsemen. They are beings who cannot be stopped, and they will bring about the end of the 

world. However, in the television shows, they become physical beings who can be defeated 

in some way, the conquering of whom will stop the apocalypse from happening.

 While the Four Horsemen have been around for a very long time, they gained 

popularity around the Reformation era in Europe (c. 1517 – 1648) due to their adaptability



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to the times. According to Barnes, the Four Horsemen were “popularized by Durer and 

especially Lucas Cranach in Martin Luther’s German Bible” (263). One reason for their 

popularity is that the story of the Horsemen lends itself to much interpretation: people 

in the Reformation were able to take what the Four Horsemen represent and apply it to 

what was happening at that specific time. For example, some people of the Reformation 

believed that “[t]he white horse with its conquering rider stood for the Second Coming itself, 

and thus for the explosion of prophetic awareness and religious conflict sparked by the 

Reformation” (Barnes 263). Essentially, people during the Reformation Era believed that the 

Second Coming of Christ was upon them and that the white horse represented this event. 

Over time, the use of the Horsemen’s adaptability has not changed. Much of Graham’s book, 

which was written in 1985, is a call to action for Christians, and he uses the Four Horsemen 

as a way of explaining the things that will come if the world does not change. For example, 

when discussing the Horseman named War, Graham states:

 This heavenly vision is God’s way of showing us our folly and warning us of its 

 consequences. Just as Harry Truman would not obey the warnings before Mount St.  

 Helens erupted, so all of mankind through history has refused to listen to the 

 warnings of God. (122) 

Graham uses current events in tandem with interpretations of heavenly wrath as a way of 

influencing change among his readers. These are easy links to make: when reading the Book 

of Revelation, it is hard not to draw connections to current world problems, such as nuclear 

threats, global warming, and many pressing issues. This adaptability of Revelation and of 

the Four Horsemen allows readers and writers to apply these beings into stories easily.

 However, it is not just in religious contexts that the Four Horsemen display their 

remarkable adaptability. In today’s media, writers not only integrate the Four Horsemen 

into problems we are currently facing but also present them as conquerable forces. The Four 

Horsemen become physical beings with whom characters are able to interact and against 

whom they may eventually emerge victorious. The Four Horsemen in Supernatural and Sleepy 

Hollow have weaknesses—such as the ability to be injured by sunlight or the need for a ring 

to keep them in their physical form on Earth—that they don’t have within the original text 

of the Bible. These weaknesses give humans a way to stop them from destroying the world. 

Unlike other types of apocalyptic threats depicted within popular media—threats such as 

plagues, zombies, and climate change, against which human survivors are struggling and 

lonely—the popularized depictions of the Four Horsemen allows for a more hopeful 

representation of apocalypse. Other apocalypses cannot be easily defeated, and many of



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them have become overwhelmingly real threats that our society could potentially face in 

the future. However, the Four Horsemen allow for a type of apocalypse that creates a more 

hopeful feeling in the end. In shows like Supernatural and Sleepy Hollow, the audience is 

better able to envision a future in which the apocalypse and the evil in the world have been 

stopped. We are given an opportunity to be more optimistic while watching the Four 

Horsemen’s depictions in these shows than when we contemplate the frightening future 

the Bible provides us. With so much of our media obsessing over the horrors of our present 

world, this optimistic portrayal of the Four Horsemen offers viewers the chance to imagine 

a positive future, which creates the kind of hope our society needs. If viewers are shown the 

end to an apocalypse, this could potentially encourage them to have confidence in our world 

and to want to work to fix the problems we are facing. By giving us hope within a television 

show, the positive apocalyptic story of the defeat of the Four Horsemen has the potential to 

give us faith within our reality as well. In a society that obsesses over the myriad of awful 

potential futures we face, such a positive apocalyptic story is rare.

REVELATION AND POPULAR CUTURE 

  Popular culture is deeply influential to society. In his book Pop Culture Wars: Religion 

& the Role of Entertainment in American Life, William Romanowski recalls a time when he was 

on a trip in Philadelphia with a youth group just after the release of the first Rocky Balboa 

film. The students he was with were not as interested in the normal tourist sights but rather 

the places seen in the film. Romanowski states:

 Most of all, they wanted to visit the Philadelphia Museum of Art. They were not,   

 however, the least bit interested in the museum’s striking Greek Revival architecture  

 or the priceless collection of art housed inside. What they wanted to see was the

 museum’s steps – all seventy-two of them. When we arrived at this major artistic   

 institution, these young people jumped out of the vans and raced up the huge stone   

 steps, their own personal recreation of Rocky’s energizing run as he prepared to fight  

 for the heavyweight championship of the world. (9-10)

This story shows how pop culture can influence a person’s view of the world around them. 

The museum’s meaning completely changed for the fans of this movie. The steps became an 

iconic place to visit and see just what Rocky saw as he prepared for the championship. This 

shows how pop culture exerts a very strong force upon our minds. This is no different when 

it comes to the apocalyptic thought surrounding our pop culture. 

 Many scholars have attempted to classify the different futures contemporary media



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portray. One scholar, Alan Clardy, states that there are six types of futures that we imagine 

within pop culture. As Clardy says, “Indeed, as argued here, six visions of the future can 

be found in popular culture, and each one presents a fundamentally distinctive conception 

of the world to come” (37). These six futures include: progress and utopia, the anti-utopian 

nightmare, dystopia, conflict and resolution, collapse, and apocalypse. Clardy states there 

have been previous attempts at categorizing these futures; however, the ones Clardy 

delinieates are separated even further into smaller categories. Each of these categories has 

specific histories and characteristics that define them. While many people use the term 

apocalypse to classify anything dealing with the potential end of the world, Clardy has a very 

specific definition. Clardy states: “In all of these manifestations, the paradigm of apocalypse 

shares several defining features. First, the end of this mortal world is ordained to arrive 

soon, often at a time predicted in great detail. Second, knowledge of this inevitable future 

has been obtained from extra-human, archaic, or divine sources and the prophecy revealed 

is doom” (44). With this sort of thinking, an apocalyptic future in pop culture becomes much 

more limited in its definition. While there are quite a few shows, books, and movies that 

discuss the end of the world, Clardy’s definition of apocalypse changes just how many can 

be classified as apocalyptic. However, this narrower definition does not change the fact that 

our society is very focused on the destruction of our world. In fact, the classifications of 

futures that Clardy presents show just how prominently current media is fixated on the 

future and the end of the world, and it undoubtedly can be discouraging for viewers to 

see these constant depictions of destruction without a type of buffer. However, modern 

depictions of the Four Horsemen offer a refreshingly hopeful alternative to this constant 

barrage of future negativity. While other apocalyptic narratives seem hopeless, these 

portrayals of Four Horsemen offer the chance for victory and survival. The popularity of the 

Four Horsemen is understandable when looking at the different types of futures Clardy 

describes, as, within his definition of the term apocalypse, the Book of Revelation is one of 

the few depictions that still fits the definition. However, the Four Horsemen are also popular 

because they offer viewers something that many other apocalypses do not: a way out.

 Clardy is not the only scholar to point out how much of our media deals with 

potential futures; James Berger also discusses our society’s attachment to apocalyptic 

depiction, and he too offers potential insight into why our society might enjoy our modern

depictions of the Four Horsemen. When talking about the apocalypse, Berger states:

 To think that everything really is over would be a great relief, and a positive   

 satisfaction. So many self-righteous and complacent individuals and institutions    



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 would get their comeuppance in a hurry. Except that it has already happened. What  

 will happen has happened, is happening. But the world is still here exactly  as it was:  

 that is what is intolerable. And therein lies the pleasure in imagining its destruction,  

 and the horror and confusion in reflecting that such enormous, such definitive 

 catastrophes have actually and in the flesh taken place. (32)

Berger is explaining that there is a pleasure in imagining the end of the world because at the 

end of the apocalypse there would be no more responsibility, and everything and everyone 

that had ever done something wrong to a person would be gone or would have gotten its 

punishment. However, I believe that, while people do enjoy imagining the apocalypse to 

a certain extent, there comes a point where people may want to think of a future without 

a destructive end. It begins to weigh on viewers’ shoulders just how real these potential 

futures may be. Here too, the modern apocalypse of the Four Horsemen can offer a 

tantalizing alternative: while it gives viewers a chance to contemplate the end of the world, 

it also allows for the world to be saved. We want to imagine the end but we don’t really want 

the world to end. The Book of Revelation doesn’t offer believers much chance for optimism 

about our future in this world; however, this story has shifted within popular media to 

illustrate a way out. With Christianity being so prevalent in our society, we want to address 

this terrifying prophecy but shift it in a way that gives us an opportunity for more optimism.

 Since Christianity plays such a large role in our culture, it can be easy to see why a 

book like Revelation would largely influence different media. According to Ericka Engstrom 

in the book Television, Religion, and Supernatural: Hunting Monsters, Finding Gods, 

 [w]hen one considers the religious identification of the U.S. population, U.S. 

 Census Bureau figures illustrate that most adults self-identify as Christian, and of  

 those, most report describing themselves as Protestant. The latest census figures,  

 from 2008, show that among some 228 million adults, more than 173 million (75%)  

 identified themselves as belonging to some form of Christian religious group. (6)

This shows just how prominent the Christian religion is within America, and this has a 

large impact on the pop culture of America. However, there are many cultures fascinated by 

religion and apocalypse in addition to America; in the article, “Apocalypticism and Popular 

Culture in South Africa: An Overview and Update,” Margaret Mollet argues that the reason 

millennial dispensationalism (belief that scripture is prophecy and is used to decide where a 

person is within the timetable of the Bible) is so embedded within people’s minds is because 

of the influence pop culture has on its audience. This argument could also be made for 

apocalyptic thought being so prominent in American society today. There seems to be a



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cyclical pattern of apocalyptic thought and of pop culture’s use of the apocalypse. With each 

wave, the apocalypse becomes more and more embedded into our society. The role of the 

Four Horsemen within pop culture today is much the same of apocalypse as a whole. 

  With religion being such a strong force in America, it makes sense that it would 

influence our popular culture to some degree. This influence can be seen in our continuous 

representations of the future. With popular culture having such an influence over us, 

screenwriters of shows like Supernatural and Sleepy Hollow may be attempting to influence 

viewers to be more proactive in confronting the often-immobilizing threats against our 

world. These shows, while they are more unrealistic, seem to be calling viewers to act upon 

their fears of the world ending. The screenwriters want us to fight the “Four Horsemen,” or 

our potential future apocalypses, just as their characters do.

 There are quite a few mentions of the Four Horsemen in pop culture through songs, 

movies, books, and television shows. The television shows Supernatural and Sleepy Hollow 

are just a couple examples of the utilization of the Four Horsemen in pop culture. Both of 

these contain the Four Horsemen in different interpretations, but the Horsemen are still 

contributing to the apocalypse in some way. By looking at both of these representations, we 

can see how the Four Horsemen are used in pop culture, and we can understand the sense of 

hope they create for the audience.

SUPERNATURAL AND SLEEPY HOLLOW ANALYSIS

 Supernatural, a CW television show that is currently in its thirteenth season, follows 

two brothers, Sam and Dean, on their journey fighting monsters of all kinds, including 

vampires, wendigos, demons, ghosts, angels, and even Lucifer himself. While the Four 

Horsemen don’t appear until Season Five, their story arc begins at the end of season four, 

where the show leaves off with Sam and Dean inadvertently breaking the last of the show’s 

66 apocalyptic seals by killing the demon, Lilith, an action that starts the apocalypse by 

allowing Lucifer to rise from his cage. As the apocalypse begins in Season Five, Sam and 

Dean are told that they are to become the vessels of Lucifer and the archangel Michael, 

entities who will ultimately fight to decide the fate of the world. Throughout the season, 

Dean refuses to allow Michael to use him as a vessel, and Lucifer begins to use the Four 

Horsemen to destroy the world. The Four Horsemen, who are shown without horses and 

as older men, show up one by one just as they do in the Book of Revelation: first War, then 

Famine, Pestilence, and, finally, Death. Sam and Dean learn that, in order to stop Lucifer, 

they need the ring of each Horseman to open Lucifer’s cage again and trap him once more.



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Throughout the season, they encounter and fight War, Famine, and Pestilence and get their 

rings. (In the show, the Horsemen are unable to be killed, but without their respective rings, 

they cannot manifest a physical form on Earth or use their power). Finally, Dean makes 

a deal with Death and receives the final ring needed to carry out the plan to stop Lucifer 

and the apocalypse. When talking to Death, Dean learns that Death is enslaved to Lucifer 

and wants to be free, a situation that prompts the Horseman to help Sam and Dean defeat 

Lucifer and stop the apocalypse. While Dean does have to make a false promise to Death, 

saying that he will do whatever it takes to put Lucifer in his cage, even allowing Sam to fall 

into the cage as Lucifer’s vessel, there is an expectation within this scene that they will be 

able to stop the apocalypse from happening.

 Throughout the fifth season of Supernatural, Sam and Dean face all Four Horsemen 

and defeat or work with them one by one. This sort of story creates a hope that they will 

stop the apocalypse and put Lucifer back in his cage before the world ends. Even at the end 

of the season when Sam falls into Lucifer’s cage with him in order to stop him, Sam and 

Dean’s strong, brotherly bond constantly promises viewers that there is always a chance of 

bringing the other back when it seems impossible. In the next season, Dean visits Death 

again and asks him to bring Sam back from Lucifer’s cage. Death agrees to do this if Dean 

retrieves his ring, which Dean did not return after borrowing, and wears it for a day to see 

what it is like being Death. He does this to show Dean just how hard his job is and how 

much it takes out of him. This shows the audience that Death isn’t necessarily all bad and 

has a conscience just as we do—in this interpretation at least. While watching this unfold, 

the audience is able to see the Four Horsemen as not only conquerable but also as beings 

who have feelings like ours. It humanizes the entire storyline and allows for the audience to 

imagine the end of the world while still imagining ways to prevent this disaster from 

actually happening. The physical beings of the Four Horsemen offer a more positive ending 

to the apocalypse. 

 Another example of the Four Horsemen within pop culture is in the television show 

Sleepy Hollow. Season One opens in 1781 with Ichabod Crane on a mission for George 

Washington to kill a Hessian soldier with a bow and arrow tattoo on his hand. Ichabod finds 

the Hessian and, upon fighting him, is fatally injured; however, he is able to decapitate the 

soldier just before he dies. In the next scene, Ichabod wakes up in the year 2013, close to the 

same time the Headless Horseman does. The Horseman begins to kill throughout the town 

of Sleepy Hollow, and Ichabod is brought in by the police as a suspect. At the police station, 

Ichabod tries to explain who he is, and who the Horseman is, but no one takes him seriously



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except one person—Lieutenant Abbie Mills. Her partner was killed by the Horseman, and 

after Ichabod describes the Horseman perfectly to her, she decides to listen to him. Soon the 

two begin to work together to figure out how to stop the Horseman. As the show progresses, 

the two learn that the horseman is actually the Horseman of Death from the Book of 

Revelation and that he plans on raising the other three Horsemen to begin the apocalypse. 

Abbie and Ichabod learn that they are the two witnesses that the Bible describes and are 

destined to stop the apocalypse and protect Sleepy Hollow. Throughout the show, Ichabod 

and Abbie begin to learn more about who the Horseman is and how to stop him.

 In the end, they realize that the Horseman has a weakness to sunlight or UV lights, 

and, by exploiting this weakness, they are able to take the Horseman prisoner so that he can 

no longer try to raise the other three Horsemen. Just like in Supernatural, the audience is able 

to picture an oncoming apocalypse while still entertaining the possibility of victory and of a 

happy ending.

 Both of these shows offer viewers more than just the chance to imagine the 

apocalypse; they offer the chance to hope for the world. The Four Horsemen in each of these 

examples are physical beings, able to be defeated by humans. The physical manifestation 

of the apocalypse allows for the audience to better visualize an actual end to the potential 

of apocalypse. These shows seem to be a call to action for viewers, for even if these are not 

realistic visions of our future, the Four Horsemen are a symbol for more realistic threats to 

humanity. The writers are calling for viewers to want a future for our world through these 

shows and their depiction of defeating the Four Horsemen. 

 Supernatural and Sleepy Hollow give viewers an opportunity to envision a future that 

they have control over. The writers for these shows seem to be offering the audience the 

chance to see their agency in the future of their world by depicting humans as the ones 

defeating the apocalypse. The Four Horsemen are a prominent cause of the apocalypse in 

media, but their role differs from other apocalyptic figures presented by the media. While

much of contemporary media does deal with potential futures of our world, these futures 

tend to be more pessimistic with no way to stop the apocalypse from happening. In many of 

these portrayals, there are few survivors and little confidence of bringing the world back to 

what it once was. Within Supernatural and Sleepy Hollow, however, we are able to experience 

a different type of future. These shows offer a different telling of this story, one in which 

the human characters are able to defeat the Four Horsemen and stop the apocalypse. These 

television shows change the Book of Revelation to offer a more optimistic conclusion, which 

gives the viewers hope for their future. While Christianity being popular in the United



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States plays a large role in the reasoning behind our portrayals of the Four Horsemen, I 

believe that our wish for a better future plays an even bigger role in the popularity of these 

interpretations, as media like Sleepy Hollow and Supernatural gives the audience a chance 

to envision a future that is no longer being plagued by the thought of impending doom. I 

believe these shows are asking viewers to see that humans are the ones who can stop the 

apocalypse; we just have to acknowledge this responsibility and work toward a better future. 

Rather than presenting apocalypses that seem unstoppable and give viewers a pessimistic 

view of the future, viewers are given a reason to hope. This want for a better future is what 

our society needs, and that is what makes these types of depictions so important. 

WORKS CITED

Barnes, Robin B. “Varieties of Apocalyptic Experience in Reformation Europe.”

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Berger, James. After the End: Representations of Post-Apocalypse. University of Minnesota   

 Press, 1999.

Clardy, Alan. “Six Worlds of Tomorrow.” World Future Review (World Future Society), vol.   

 3, no. 2, Summer 2011, pp. 37-48. EBSCOhost, proxy.bsu.edu/login?url=http://search. 

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Engstrom, Erika. Television, Religion, and Supernatural. Lexington Books, 2014.

Graham, Billy. Approaching Hoofbeats: the Four Horsemen of the Apocalypse. Word

 Books, 1985.

Iscove, Phillip, et al., creators. Sleepy Hollow. Sketch Films, K/O Paper Products, and

 Twentieth Century Fox Television, 2013.

Kripke, Eric, creator. Supernatural. Kripke Enterprises and Warner Bros. Television, 2005. 

Mollett, Margaret. “Apocalypticism and Popular Culture in South Africa: An 

 Overview and Update.” Religion & Theology, vol. 19, no. 3-4, Sept. 2012, pp. 219-236. 

 EBSCOhost, doi:10.1163/15743012-12341240.



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Romanowski, William D. Pop Culture Wars: Religion & the Role of Entertainment in

 American Life. InterVarsity Press, 1996.

The Holy Bible. King James Version, Zondervan, 2002.


