Article
Attention
Comment
Digital
3 min read

When standards fail, what next?

Media’s fragmentation reflects our own shattered attention.

Jamie is Vicar of St Michael's Chester Square, London.

Seat on an underground train carraige, a passenger holds and reads a newspaper.
Evening Standard headline 2013.
Derek Key, CC BY-SA 2.0, Wikimedia Commons.

News about newspapers is never good news. So, the not wholly unsurprising announcement that London's daily Evening Standard will only be printed weekly comes with sadness. There are fewer commuters and those who are on the tube or overground are making use of the Wi-Fi. Even the paper's editor, Dylan Jones, recently admitted he never reads a print newspaper. These shifts are hardly breaking news anymore, but they do need us to take out our earphones and pay attention. 

Earlier this year, as if predicting the newspaper’s daily demise, Lord Hague wrote, 'Even a few years ago you would see, on the London Tube, a high proportion of people reading the Evening Standard, cheek by jowl sharing the commentary on the fortunes of the capital. Today, they sit with headphones on in their fragmented worlds.'  

Most of us haven't noticed, because our heads are down staring at our screens, but he's right. Hague argues that we should fight against the plight of local newspapers, but even a recent ‘editorial pivot’ to local London news couldn’t save its daily edition.  It's a newspaper known for pivoting a lot over the decades, but this is a step change. 

Losing the daily printing of a two-century-old institution is more than the end of an era. Even for someone like me who has lived in London recently, the change in our reading habits that Hague describes is one that is unmistakable. I'm sure I will look wistfully at the empty trays of newspapers, without the obstacle of a newspaper in my face as I descend the steps to the tube.

The people are what makes these institutions: whether it’s the bellowing by the tube at rush hour, or those who write the articles. Journalist Tom Leonard's sepia-toned reflection is that the Standard was 'the closest you could get in the real world to a newspaper in a classic Hollywood film, with reporters and photographers actually rushing out together on stories… and editors actually occasionally saying dramatic things like “hold the front page”.’ But we're losing more than nostalgia, and even more than the life-altering job losses. 
 

At the heart of that liberation wasn't agony-aunt good advice, but the heralding of good news for all people. 

We are going through the largest shift in information dissemination since the arrival of the printing press five hundred years ago. They called that the Reformation. What will they call this? The Fragmentation? Or the Liberation? Information is not always illumination, and the new world we are creating is indeed an increasingly fragmented one. There's the threat to democracy, as Hague soberly warns. Never before have we felt the need to hold power to account, yet without the focused resources to do so. 

And it's focus itself we're also losing. My scattered senses fling me to the urgent, rather than the important. They take me to ephemera rather than what really matters. Our attention spans drive us to snippets rather than stories, bitesize over background. It could be argued that rather than the power residing in the newspaper editor, the power is now in the hands of the person holding their phone, but let's not be naive about the quality and the neutrality of what we consume, and the echo chambers we're locking ourselves in. The power of the daily habit of reading what we will and won't agree with is the power of the printed press. Holding the Bible in your hands, in your own language for the first time was challenging, confronting, but also liberating. At the heart of that liberation wasn't agony-aunt good advice, but the heralding of good news for all people. This good news included repairing of the fragments that broke people apart from each other. It became the must-read. 

As we adapt to a new standard in news, perhaps some old news might reveal a new standard. 

Review
Culture
Digital
Fun & play
4 min read

The grand narrative that’s made it on mobile

The Serpent & The Seed is a welcome addition to the cosy games genre.

Giles Gough is a writer and creative who hosts the God in Film podcast.

A mobile game still shows a robin standing close to a seated man.
Mungo and Adam.

The Serpent & The Seed is a game with a difference: an imaginative retelling of the world's greatest story. In a world overtaken by an evil serpent, you play the character of Mungo, a young robin encouraged by his owl friend to read an old, mostly forgotten book that holds the promise for salvation.   

Released last Easter by Discipleship Tech (the creators of the Prayer Mate app) The Serpent & The Seed aims to tells the story of the Bible as a mobile adventure game. Turning the Bible story into an app feel like quite a novel idea. A cursory search shows that there’s no shortage of Bible based games to play on your phone, but most of them appear to be quiz or trivia based. Seeing this grand narrative, from creation to crucifixion, in game form feels both novel and inevitable, how you might imagine seeing the gospel story be put on film for the first time. “Throughout history, Christians have created, shaped and used technology for God’s glory” the Discipleship Tech website tells us; seen in that light, using a mobile game to deliver the gospel is simply the next step in a line of technological use that stretches back to the invention of the codex.  

Although the game has only been in development for just over four years, it’s had a much longer gestation period than that. “It's an idea I've had for about 20 years now,” says project leader, Andy Geers, “I grew up playing lots of computer games and knowing Jesus and getting to know the Bible better… So I kind of thought: wouldn't it be great if we could combine those two things?” Geers says that the catalyst for this game was a research project. According to the Bible Society’s Lumino research project, a quarter of the UK population are "open to the Bible and finding out more". The Serpent & The Seed is Geers’ way of meeting that need.  

This is clearly a labour of love for all involved and it shows. The dialogue sparkles with cheeky irreverence at times thanks to scriptwriting from Amy Green (BAFTA-winning writer/developer of That Dragon Cancer, the video game centring on the loss of her infant son, Joel). Ostensibly aimed for players ‘9+’, the narrative has to dance around some of the more unpleasant parts of the Old Testament, which it does so lightly and humorously. At one point in the Garden of Eden level, Adam tells our robin character Mungo, that naming things is hard work, and he needs a rest. Mungo then ponders whether Adam has any idea what hard work is! The framing narrative of talking animals in a world full of thistles and thorns ruled by an evil tyrant has shades of Narnia, which may have been an unconscious influence and is very much appreciated.  

One particular highlight is the musical interludes. The developers aimed for the music to be a leading character in this mobile game, and the score was composed by song-writing duo Poor Bishop Hooper. When you unlock another chapter in the game, the almost transcendent songs kick in, combined with the logo appearing in its beautiful lettering, creating an enjoyable experience. It also features music from Canadian artist Jim Guthrie, whose Superbrothers: Sword & Sworcery EP was something of an inspiration for the atmosphere of the whole game.  

The game appears to be connecting with the public, many of whom are praising its art design. Greg Clifton’s illustrations are soothing and light-hearted (I’m pretty sure Moses is rocking an awesome quiff). “It seems to be pitched as a chilled, interactive story with some minor puzzle solving, a subgenre that is increasingly popular these days,” writes gamer and RS teacher Natalie Minaker. “I imagine that this game can provide a few hours of mental respite to any stressed-out Christians!”  

Unfortunately, the lack of challenge is hard to avoid mentioning. As this game is telling a very well-established story, there’s very little jeopardy and as a result, the pace lags a little in parts. “The gameplay is gentle and seems to promote a sense of mindfulness rather than any real sense of peril or challenge,” continues Minaker. In certain levels there are Christian themed takes on popular mobile games - Angry Birds, Flappy Bird, and even Snake (which will be a pang of nostalgia for those of us who had a Nokia in the 90s). What is clear is that playability takes a back seat to story here, and when that story is the Bible, that’s understandable. There’s also a distinctly estuary English accent to the voices shouting “hosanna” as Jesus enters Jerusalem on a donkey which might momentarily take you out of the story, but this is merely nitpicking.  

Whether it will effectively compete for pre-teens’ attention in a saturated market remains to be seen, but this is another useful tool to have in a kids or youth leader’s toolkit. It might also serve as the kind of homework an RE teacher could set that the students might enjoy completing! Older gamers or committed Christians might not find much of the content particularly revelatory, but they may find its gentle pace and soothing aesthetics a welcome addition to the emerging ‘cosy games’ genre. 

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