Article
Culture
Digital
Fun & play
4 min read

Fun is dead

When video games turn play into work, we need to play without fear of consequences.

Simon Walters is Curate at Holy Trinity Huddersfield.

A woman stand in front of a large video screen displaying the Space Invaders title, hold her hands out in front of her.
Photo by Andre Hunter on Unsplash.

Imagine there’s been a sudden change in plans. The evening meeting is cancelled at the last minute, or your friend is sick and can’t come round. There are no looming tasks that need doing, so you set out to have some fun. What do you do? 

Karen Heller’s recent article in the Washington Post suggests that we don’t really know how to answer that question. ‘Fun is dead’, proclaims the headline, and her analysis is simultaneously insightful and depressing. Weddings have become stressful extravaganzas, holidays require a constant stream of activity, retirements should have a purpose and a plan. Our fun, our play, requires a reason to exist. Can we have fun without it having some larger purpose? Can we play without needing to post it on social media? Everyone else, it seems, is having much more fun than we are. 

Take video games. You might think this ought to be the very definition of a playful activity, one with no particular end or purpose in mind. But even here, it seems we don’t know how to have fun without some type of incentive. Conversations about video games online are frequently so self-serious and toxic that you’d be forgiven for thinking that it was a matter of life and death, not differing preferences about fun. Some of the world’s biggest games – things like Fortnite, Genshin Impact, and EA Sports FC – give rewards to players who turn up to play every day. It sounds generous until the psychological hooks of these methods grip you far past the point of fun. Players talk about not being able to sustain more than one of these types of games, because otherwise they won’t be able to keep up. What starts as play quickly turns into a form of work. 

The world of play is a world of grace, where we are free to find pleasure in an activity on its own merits. 

I am as much a sucker for this method as the next person. I find myself drawn to games which start out as free and fun, but the fun inevitably seems to turn into a chore that I cannot dislodge. There is an unwritten pressure to turn up to play every day to complete daily tasks and keep up with the competition. I end up feeling guilty for wasting my time playing games, and anxious to keep up with what’s required when I do. No wonder, with all these contradictory pressures on play, I find myself more often than not vegetating in front of Netflix rather than really playing. 

This is all a bit of a first world problem and might seem like another depressing indictment of modern society, but perhaps it shouldn’t be that surprising. As humans, we are always looking for some way to justify ourselves, some way of finding proof that what we do matters. Play, by contrast, demands that we step into a different sort of world. The world of play is a world of grace, where we are free to find pleasure in an activity on its own merits, and not for anything we might get from it in the end. Play, in its best sense, is purposeless apart from the joy of playing. "When we try to give our playful activities some wider purpose for why they matter, we are turning them into something else." 

The world of the Christian faith is not often seen as a playful one. It seems so very serious, dealing as it does with matters of life and death. But within the serious world of the Church, a space for play emerges. After all, it is first and foremost a world of forgiveness from what we have done wrong in the past, present, and future. This forgiveness takes away the fear of failure. Whether I am greatly successful or not I am loved and forgiven by God. This is God’s gift, which cannot be earnt and cannot be lost. 

The result, perhaps surprisingly, is that I am free to play, because I do not need my play to achieve anything for me. As the theologian Simeon Zahl puts it,  

In play a person is free to engage with the world creatively, actively, energetically, but without fear of ‘serious’ consequences. The Christian is free to play with things that once seemed deadly serious, to find delight in what were formerly objects of fear, and to take themselves much less seriously. 

In the world of video games, this idea is perhaps most clearly seen in the games produced by the Japanese game developer Nintendo. Their games, from Mario to Zelda, epitomize a vision for gaming which is driven by creating joy for whoever is playing, and not unnecessarily burdensome tasks. One of their best games of last year, The Legend of Zelda: Tears of the Kingdom, doesn’t offer a prescriptive path for how players should approach its challenges. Instead, the player is given a toolkit and set loose to use it in the world as they see fit. The result is a sense of joyful freedom, a feeling that its world is full of delight and even silliness. It gave me some of the most fun playing games in recent years, without me even coming close to finishing it. 

It's this playful attitude that I want to take into the rest of my life. What would it look like for us to see the world as a playground rather than an exam hall? The result wouldn’t just be a lot more fun. I think it would also be deeply Christian. 

Article
Comment
Identity
Nationalism
5 min read

Which nation are you flying the flag for?

Flag raisings, Ed Sheeran, and my split national identity

Juila is a writer and social justice advocate. 

A Union Jack is draped over a railing, next to a red flag saying Jesus.
A flag demonstration, Portsmouth.
TikTok.

Flags are flying from lamp posts around England. It’s newsworthy here – and yet reports barely note that for those of us from Northern Ireland, we know something of this. A couple of weeks ago, the backlash was loud when Ed Sheeran declared himself ‘culturally Irish’, attributing greater significance to his family’s heritage than being born and raised in England. When it comes to signs of identity, things can quickly get personal. 

In my family – Northern Irish mother, English father, two daughters born in London but most of our childhood spent living just outside Belfast – we’ve been known to debate points to tot up our national identities over the dinner table. Does a place of birth outweigh the school years? When does formation finish – on turning 18 or do the months away at university count for anything? Does it matter how our mixed DNA actually expresses in our hair, our eyes, our stature?  

It’s a game and it’s our deeply felt reality. It’s the years spent with my schoolmates teaching me to correctly say ‘how now brown cow’ – and the arrival in England to find people couldn’t understand me saying my own name. It’s the stomach churn I still feel when I see flags flying, having grown up in a country where banners signal who is in – and therefore who is out. It touches on the questions of belonging and home.  

Irishness seems to travel well. The popularity of the island’s artists and art (from Paul Mescal to Derry Girls) are all signifiers of this cultural moment. But being Irish has always carried more cachet when I’ve been abroad, and I confess that when it has suited, I have led with my more ‘palatable’ half (or quarter or… the family maths is still up for debate). It’s convenient – but there’s also a discomfort in the enduring appeal of ‘Irishness’ outside of the island. It’s an ‘otherness’ that evokes intrigue and warmth, rather than fear. Difference that is more than acceptable, sometimes desirable. Distinct enough to be interesting but unthreatening for often being associated with white skin. 

Underneath the light-hearted arguments of our dinner table is a question of formation. Ed Sheeran attributes his sense of being Irish to the things that he feels have shaped him. It’s in being away from Belfast, living in England, that that I have seen more clearly the ways that Irishness has formed me. Watching Derry Girls with my English husband I freely laughed at what I assumed were universal jokes, only to have to hit pause and explain them. The show unearthed memories – not bad, just not often recalled – of Bill Clinton’s historic visit and the ‘across the barricades’ style gathering of primary schools from different sides of the community. 

Signs and symbols matter. I recently rewatched an episode of tv show, The West Wing, in which the US flag may – or may not – have been burned as part of a trick by magicians Penn and Teller. A media maelstrom follows. Whether or not the flag burned matters, as does the symbolism of this act taking place in the White House, itself an emblem of national identity and power. 

Reflecting on the news, I find myself thinking about the signs of a different kind of kingdom, one that transgresses national borders. In the Bible there's the story of one man who died once for all the world. And in dying, he brought forth his kingdom – one that crosses boundary lines to be truly global. The signs of this kingdom are not division or disconnection but peace and justice, joy and comfort, healing and presence. 

This is not about homogenisation. It’s not about the erosion of cultures, but about the beauty of all represented. As Harvey Kwiyani, a theologian from Malawi, puts it: “We are all welcome to God’s kingdom with our unique cultures. Being in the kingdom of God does not erase our cultural differences… The kingdom of God finds its fullest expression in intercultural mutuality. It is a multicultural kingdom.” The kingdom of God in all its richness – that’s a tempting proposition.  

It’s easy to see that we aren’t living in the fullness of this yet. But the world is not a static place. One metaphor used to describe the kingdom of God is yeast; living cultures filling the dough, making it rise. This is an image that is expansive, generous. The kingdom isn’t wholly realised yet, but we can see more and more of it. 

And like the yeast, we have a role to play in culture changing. As Graham Tomlin wrote following debates about ‘Englishness’, belonging to the kingdom of God means we have an identity not defined by where we live. Being part of this kingdom, we also become active participants in it. Formation is not just about us; we get to play an intentional role in the formation of a kinder world, in the coming of God’s kingdom. In the midst of fear and uncertainty, our ability to engage in such life-giving action offers a concrete hope.   

This is not a defensive position, but a brokering one. The kingdom is bigger than our individual lives, churches or communities; recognising this helps us to break out of a fortress mentality. So far, this century has been marked by fortification. As well as the raising of flags, there have also been walls. At the end of the second world war there were fewer than five border walls; there are now more than 70, most of them built in the last two decades. But the kingdom of God offers a view of home that is not about defence, not about perimeters, or even places. It’s a relationship with God, who made and sustains this world, who crosses the divide to meet each of us. In meeting him, we can partner together in seeing more of his kingdom on this earth.  

Anthropologist Andrew Shyrock defines sovereignty as “manifest in the ability to act as host”. Or to ground it in the day to day: to be able to offer a cup of tea. Perhaps some of the anger about Ed Sheeran’s claim is because of what it seems to either take or reject, pulling towards one nation while turning a back to another. Belonging to the kingdom of God invites us to think beyond what we can have to how we can intentionally serve. It has room to honour heritage and at the same time, it bends forward towards eternity. In the day to day, I find this a comfort: to see formation as not just about the past, but also the power of creative act after creative act in shaping the world that’s coming. 

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