Childhood: The Real Event - review

Kids Company comes to the Royal Academy.

"Often the deepest pain empowers you to grow into your highest self, but it can also destroy all your ambitions and dreams," Asha, 21,  Kids Company.

Outside the Royal Academy, a billowing, brightly coloured banner draws you in to the venerably institution's latest exhibition: “Childhood: the real event”. Take up the invitation and you'll see the work of children from across London exploring their real life stories.

Wandering through the first corridor, which is draped in acetate slides of children’s dreams for the future - varying from the widespread hope to play for Arsenal to the occasional aspiration towards a medical degree and, most touchingly, the hope to be loved - you are transported into another world. In the first room, with four large installations of sculpture, sound and video, is a world dominated by fear and distress. In the second room, coated in paintings, fashion, poetry and installations, the dominant tone is one of frank honesty. The third room, which features a selection of reflections and stories in all forms, is a world of healing, the last one a world of hope. These are the worlds of the "lone children", of whom are there are between 1.5 and 2 million in the UK - children who, whether in care, living with parents or fending for themselves, are subject to maltreatment.

Kids Company was established in 1996 by Camila Batmanghelidjh to act as an advocate, a therapist and a carer to these children. The exhibition at the Royal Academy is just one example of the work the organisation does with maltreated children and young people in London. It is beautiful, tough and, above all, moving. Speaking to the New Statesman, Batmanghelidjh agrees: “I’ve been doing this job for 20 years and I’m moved by it.”

Kids Company describes the service it offers to children and young people as “reparenting”, giving lone children who have suffered trauma and maltreatment access to key workers who fulfill a parental role in everything from attending parents’ evenings and taking them to school to helping with immigration law and council housing. Batmanghelidjh says:

It’s about not silo-ing these kids and their issues. If you don’t have a pair of shoes or you’re hungry it will impact right across your day. So it’s no good saying “we’re only in mental health provision” or “we’re only in housing provision” if you don’t address the rest of the things then what you provide isn’t robust.

Kids Company, above all, is a sanctuary to these children, away from trauma, maltreatment and fear. Batmanghelidjh says the project at the Royal Academy has offered the children involved the chance to work with artists as a form of therapy and an opportunity to tell their own stories:

The exhibition will give them a sense of pride and dignity and also diminish their invisibility. A lot of these children lead these lives in secret; these lives are not reflected back on the TV with them as the daily lives of children. By putting it in the public space in such a way, what we’re saying to the children is “your life experience is legitimate, it’s worth communicating and it’s important”

One of them, Karl Lokko, describes the children who took part in the exhibition as having been exposed to trauma at “ages where they’re not able to grasp totally what algebra is, never mind figure out the equations of life”. But their stories are awe-inspiring.

Children: The Real Story runs until 22 July at the Royal Academy, 12pm to 6pm, Tuesday to Sunday. Entrance is free.

Kids Company founder Camila Batmanghelidjh

Helen Robb reads PPE at Oxford University where she is deputy editor of ISIS magazine.

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It’s been 25 years since the Super Nintendo and Sega Mega Drive were released – what’s changed?

Gaming may be a lonelier pusuit now, but there have been positive changes you can console yourselves with too.

Let's not act as if neither of us knows anything about gaming, regardless of how old we are. Surely you'll remember the Super Nintendo console (SNES) and Sega's Mega Drive (or Genesis, if you're an American)? Well, it's now been 25 years since they were released. OK, fine, it's been 25 years since the SNES' debut in Japan, whereas the Mega Drive was released 25 years ago only in Europe, having arrived in Asia and North America a bit earlier, but you get the idea.

Sonic the Hedgehog by Sega

It's amazing to think a quarter of a century has passed since these digital delights were unveiled for purchase, and both corporate heavyweights were ready for battle. Sega jumped into the new era by bundling Sonic, their prized blue mascot and Nintendo retaliated by including a Mario title with their console.

Today's equivalent console battle involves (primarily) Sony and Microsoft, trying to entice customers with similar titles and features unique to either the PlayStation 4 (PS4) or Xbox One. However, Nintendo was trying to focus on younger gamers, or rather family-friendly audiences (and still does) thanks to the endless worlds provided by Super Mario World, while Sega marketed its device to older audiences with popular action titles such as Shinobi and Altered Beast.

Donkey Kong Country by Rare

But there was one thing the Mega Drive had going for it that made it my favourite console ever: speed. The original Sonic the Hedgehog was blazingly fast compared to anything I had ever seen before, and the sunny background music helped calm any nerves and the urge to speed through the game without care. The alternative offered by the SNES included better visuals. Just look at the 3D characters and scenery in Donkey Kong Country. No wonder it ended up becoming the second best-selling game for the console.

Street Fighter II by Capcom

The contest between Sega and Nintendo was rough, but Nintendo ultimately came out ahead thanks to significant titles released later, demonstrated no better than Capcom's classic fighting game Street Fighter II. Here was a game flooding arcade floors across the world, allowing friends to play together against each other.

The frantic sights and sounds of the 16-bit era of gaming completely changed many people's lives, including my own, and the industry as a whole. My siblings and I still fondly remember our parents buying different consoles (thankfully we were saved from owning a Dreamcast or Saturn). Whether it was the built-in version of Sonic on the Master System or the pain-in-the-ass difficult Black Belt, My Hero or Asterix titles, our eyes were glued to the screen more than the way Live & Kicking was able to manage every Saturday morning.

The Sims 4 by Maxis

Today's console games are hyper-realistic, either in serious ways such as the over-the-top fatalities in modern Mortal Kombat games or through comedy in having to monitor character urine levels in The Sims 4. This forgotten generation of 90s gaming provided enough visual cues to help players comprehend what was happening to allow a new world to be created in our minds, like a good graphic novel.

I'm not at all saying gaming has become better or worse, but it is different. While advantages have been gained over the years, such as the time I was asked if I was gay by a child during a Halo 3 battle online, there are very few chances to bond with someone over what's glaring from the same TV screen other than during "Netflix and chill".

Wipeout Pure by Sony

This is where the classics of previous eras win for emotional value over today's blockbuster games. Working with my brother to complete Streets of Rage, Two Crude Dudes or even the first Halo was a draining, adventurous journey, with all the ups and downs of a Hollywood epic. I was just as enthralled watching him navigate away from the baddies, pushing Mario to higher and higher platforms in Super Mario Land on the SNES just before breaking the fast.

It's no surprise YouTube's Let's Play culture is so popular. Solo experiences such as Ico and Wipeout Pure can be mind-bending journeys too, into environments that films could not even remotely compete with.

But here’s the thing: it was a big social occasion playing with friends in the same room. Now, even the latest Halo game assumes you no longer want physical contact with your chums, restricting you to playing the game with them without being in their company.

Halo: Combat Evolved by Bungie

This is odd, given I only ever played the original title, like many other, as part of an effective duo. Somehow these sorts of games have become simultaneously lonely and social. Unless one of you decides to carry out the logistical nightmare of hooking up a second TV and console next to the one already in your living room.

This is why handhelds such as the Gameboy and PSP were so popular, forcing you to move your backside to strengthen your friendship. That was the whole point of the end-of-year "games days" in primary school, after all.

Mario Kart 8 by Nintendo

The industry can learn one or two things by seeing what made certain titles successful. It's why the Wii U – despite its poor sales performance compared with the PS4 – is an excellent party console, allowing you to blame a friend for your pitfalls in the latest Donkey Kong game. Or you can taunt them no end in Mario Kart 8, the console's best-selling game, which is ironic given its crucial local multiplayer feature, making you suspect there would be fewer physical copies in the wild.

In the same way social media makes it seem like you have loads of friends until you try to recall the last time you saw them, gaming has undergone tremendous change through the advent of the internet. But the best games are always the ones you remember playing with someone by your side.