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. 

Review
Art
Awe and wonder
Culture
5 min read

Stanley Spencer’s seen and unseen world

The artist’s child-like sense of wonder saw heaven everywhere.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A woman dressed in dark Victorian clothes sits on a street among angels.
Detail: Sarah Tubb and the Heavenly Visitors.
Stanley Spencer Gallery

The seen and the unseen are keys to the work of Stanley Spencer but, while imagination is required to bring them together, they are not real and imaginary, rather they are real and real. 

The catalogue for Seeing the Unseen: Reality and Imagination in the Art of Stanley Spencer begins with a quote from Spencer’s writings:

“Everything has a sort of double meaning for me, there’s the ordinary, everyday meaning of things, and the imaginary meaning about it all, and I wanted to bring these things together.” 

Writing as he does, Spencer draws on the thinking of William Blake and Samuel Taylor Coleridge who, as Malcolm Guite has shown, viewed the imagination as not only shaping and putting things together, as Spencer describes, but also removing the dull film of familiarity that we put over everything, to see it with freshness once again. That freshness being primarily, the innocent view of a child.  

This exhibition brings together stunning examples of Spencer’s realistic works – his portraits and landscapes – which he often viewed as “potboilers” that merely paid the rent, and his biblical or symbolic works which had his heart and which, in his mind, formed a vast exhibition in a “church-house”. The curators, through their apt juxtapositions, compellingly demonstrate how Spencer brought together the seen and unseen in his work.  

View from Cookham Bridge (1936) is a realistic work that shows us beautifully a summer’s day in an area of great meaning to Spencer. He set his magnificent but unfinished Christ Preaching at Cookham Regatta, which is permanently on show at the Gallery and towers above everything else in the exhibition, just downstream of Cookham Bridge. Christ Preaching at Cookham Regatta teems with people and incident while, in View from Cookham Bridge, there are no people to be seen. Yet, in this painting, Spencer enables us to feel their presence – hearing the ducks and splash of oars, the chatter of people – thereby leading us to visualise the unseen. 

Spencer’s biblical and symbolic images are primarily set within Cookham, as the village itself suggested settings for specific scenes to him. The Betrayal is set at the end of Spencer’s own garden where the distinctive buildings of the maltings can be seen in the background. The Last Supper is then set in those same maltings, while Sarah Tubb and the Heavenly Visitors is set in the garden of Sarah Tubb’s home on Cookham High Street. Through this means Spencer emphasises both the universality and particularity of the Bible’s stories, in that they can be reimagined or reenacted anywhere and in the humblest of settings.  

Heaven in ordinary is a particular response to the incarnation – God moving into our neighbourhood – and is one that Spencer pushed to particular lengths, as is shown here through images from his Beatitudes of Love series. The Beatitudes are where Jesus turns our expectations of worldly success and achievement upside down by teaching that it is the meek and humble, the persecuted and those grieving who are blessed in God’s eyes and kingdom. In his Beatitudes of Love, Spencer demonstrates God’s acceptance of all by turning our expectations of beauty upside down and deliberately giving us characters who seem grotesque as those we are asked to admire and love. 

In doing so, he is also showing his retention of a child-like vision of the world as, from the perspective of a child, all adults are large, lumpy and disproportioned. Unlike a later great religious artist, Albert Herbert, who escaped from the limitations of adult vision by deliberately painting in a child-like manner, Spencer painted with a child-like vision. This can be seen in Christ Preaching at Cookham Regatta where his child-like Christ is both rotund but wonderfully energetic as he leans forcefully forwards from his wicker chair to engage with a group of children who are responding in the range of ways that children do, from attention and captivation to distraction and disinterest.  

His child-like vision and understanding are perhaps most clearly seen here in one of a series of pen and ink drawings undertaken for an almanack published by Chatto and Windus. These were domestic scenes illustrating the months of the year. The image for July is of his first wife Hilda smelling a flower. This is not an image of refined woman delicately savouring a pleasant odour, instead Hilda’s face is buried in the daisy, nose against pistil, as a child gaining the fullest experience possible.    

Blake was eight years old when he first saw angels in trees on Peckham Rye. Similarly, Spencer developed his sense of Cookham as a village in heaven in childhood. He never lost that child-like vision, although at times he questioned whether it had been successfully retained. Despite many poor choices and challenging life experiences, the works shown here reveal that Spencer carried a child-like sense of wonder through his life and work and, as a result, left as his legacy the deepest and broadest vision of heaven in ordinary that any artist has been able to gift to us.  

While his dream of a literal church-house in which to house his complete oeuvre was never a realisable aim, his works, taken as a whole, provide a key with which open a door allowing us to see what church and home, heaven and village, are together. Although small in size and therefore able to only show a minimal percentage of Spencer’s work at any one time, the Stanley Spencer Gallery, housed as it is in a former Wesleyan Chapel, creatively operates as a diminutive church-house for Stanley’s works, taking us deeper into his unique achievement one exhibition at a time. 

 

SEEING THE UNSEEN: Reality and Imagination in the Art of Stanley Spencer, Stanley Spencer Gallery, Cookham, 7 November 2024 – 30 March 2025 

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