Fantasy narratives have long been synonymous with the stark dichotomy of good versus evil, often populated by characters whose moral alignments are immediately apparent. Richard Adams' Shardik carves a niche within the Christian fantasy genre, which is prominently represented by works like C.S. Lewis's Chronicles of Narnia. However, while Lewis is known for imparting straightforward moral lessons, Adams ventures into the complexities of faith and perseverance. His characters grapple with doubt, questioning the divinity of Shardik and the miraculous nature of events they witness, which adds layers of believability. Unlike the clear-cut morality of many Christian fantasies, the characters in Shardik, aside from the utterly malevolent Genshed, are neither wholly good nor evil. Genshed, embodying Satan, finds pleasure in corrupting others, yet the remaining characters exhibit a mixture of virtues and flaws, enriching the narrative with psychological depth.

Despite the success of Adams' earlier work, Watership Down, Shardik did not achieve the same level of popular acclaim, largely due to its somber tone and hefty length, exceeding five hundred pages. Whereas Watership Down offered a more whimsical, approachable story for younger audiences, Shardik confronts humanity's most brutal aspects head-on. Many post-World War II fantasy works, heavily influenced by Tolkien's Middle-Earth, often fall into predictability, ensuring a comforting, happy resolution. In contrast, Shardik leaves readers with a genuine sense of suspense and uncertainty regarding Kelderek's fate, particularly in his confrontation with Genshed's malevolence. The narrative raises questions about whether Kelderek will recognize his errors or merit escape from his ultimate ordeal, maintaining an emotional grip on young adult readers and provoking them to ponder the profound themes addressed within the story.