Facing up to justice

The crimes and sentencing of baby-murderer Lucy Letby is driving fresh conversations about justice. Edward Smyth examines the confusion and contradictions within them.

Edward Smyth

A writer and speaker in the field of criminal justice and faith, Edward Smyth is now pursuing doctoral research on the 'through-the-gate' experiences of individuals who have found faith while in prison.

Lucy Letby's Police file photograph.

Cheshire Constabulary.

‘Christians need to be ready for the inevitable moment when Lucy Letby declares that she’s found Jesus in prison.’

So read one of many tens of thousands of tweets posted on the day Letby was sentenced to spend the rest of her natural life behind bars. I probably saw several hundred of those tweets that day; yet this one has lingered, niggling away at me whenever my mind is drawn back to a consideration of the appalling facts of a case that surely takes its place amongst the worst ever to have been prosecuted in this country.

One of the things about the Letby trial which has caused the most consternation has been her refusal to appear in court for some of the verdicts, and for her sentencing hearing. The strength and volume of the response to what is being almost universally termed her ‘cowardice’ has some challenging things to say about what contemporary society means – or thinks it means – when it talks of ‘justice’. And, as I write, the Government’s response has been to force criminals to appear. An interrogation of these responses might just help us all begin to be able to think through where this leaves us, too.

The sense seems to be that in refusing to enter the dock at Manchester Crown Court for her sentencing, Letby has somehow evaded what we might term her ‘just deserts’; and that her victims and their families – and indeed society – have been cheated out of some of the justice to which they feel entitled. If the act of receiving the sentence is viewed as itself part of the punishment (not an assumption by which I am wholly persuaded, but one which sits at the heart of this argument) then the outrage caused by Letby’s avoidance of her sentencing speaks to a certain weighting of the importance of that one morning in court as against the next forty or even fifty years Letby will spend in prison. What this boils down to, then, is retribution pure and simple. We think offenders should be made to listen to the impact of their offending because we want them to feel all the things that we believe they deserve: guilt, shame and pain. We want this because of some innate, deep-rooted sense of balance and fairness which dictates that an appropriate response to the imposition of pain is, in turn, the imposition of pain.

Our legal system exists, in part, to ensure that this remains proportionate: the state censures offenders to avoid the inevitable disproportionate vigilante or retaliatory action which would otherwise ensue, exercising what some criminologists refer to as its ‘displacement function’. Prisons, of course, are out of sight and usually out of mind which perhaps explains the importance of the sentencing hearing in cases like this: it is the only opportunity we have to see the convicted person suffer – and we need to see it with our own eyes to make sure that, even if we think ‘prison is too good’ (i.e. insufficiently painful), we have at least seen the convicted person suffer some pain.

Letby may have avoided being deluged by the waters of justice rolling down upon her ... in the dock, but we should be in no doubt that those waters are rising from the floor of her prison cell as we speak.

For Christians, though, the elephant in the room is that Letby has been sentenced to a ‘whole life order’. In passing that sentence the state is saying ‘we have no interest in your rehabilitation’; and that is something which should give all pause for thought especially Christians. I do not think there is a ‘correct Christian response’ to this issue, as it happens: personally, I would rather we didn’t have whole life orders, but equally I have no objection to someone spending the rest of their life in prison if that is the only safe course of action. If we were designing a Christian system of criminal justice, then whole life orders would be indefensible on the grounds that we have no right to make impossible redemption; but we’re not designing – or operating under – a Christian system of criminal justice; and redemption in the theological sense is still possible in prison. I struggle – particularly in light of cases like this one – to get too worked up about it.

But perhaps that’s the point. Perhaps the fact that my own theology opposes whole life orders but, when exposed to the facts of a case like Letby’s, I find it difficult to care very much is exactly the kind of confusion and contradiction of which I spoke at the outset of this article. And in that confusion and contradiction perhaps we find what it is to be a Christian, our instinctive and culturally conditioned human responses coming up against the teaching of the ultimate countercultural being and, so often, overwhelming it in our hearts.

Those hearts ache for the victims of Lucy Letby and their families. Have they received justice? She will spend the rest of her life in prison: I think they have. Is that justice compromised because she did not appear for her sentencing? I think it is not, on both secular and Christian grounds. Secularly speaking the state has performed its ‘displacement function’ and the punishment is being carried out whether she was there to hear it or not. The victims have – for better or worse – been removed from the conversation, which is why criminal cases are listed as ‘The King v. ...’ rather than ‘[Victims’ names] v … .’ Theologically speaking Letby may have avoided being deluged by the waters of justice rolling down upon her (as Justice is described in the Bible) in the dock, but we should be in no doubt that those waters are rising from the floor of her prison cell as we speak, and she will be soaked through soon enough.

The case of Lucy Letby – as with any case of great evil – is a violent challenge. For the Christian, it is one which can only be met with prayer, thought, and introspection. In short: they must pray their way to their own response. But whilst they are doing that as Christians in an increasingly secular world; a world where the responses that they know their faith obliges them to make are so quickly and easily monstered – I can only hope that they and we find in our Church an institution willing to preach that countercultural, unpopular Gospel.

'Modern man often anxiously wonders about the solution to the terrible tensions which have built up in the world and which entangle humanity. And if at times he lacks the courage to utter the word “mercy”, or if in his conscience empty of religious content he does not find the equivalent, so much greater is the need for the Church to utter this word, not only in her own name but also in the name of all the men and women of our time.'
Pope John Paul II

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Fun & play

1 December 2023

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

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.