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A high-contrast, screenprint-style illustration. The image shows a war-damaged urban building reduced to rubble, with silhouetted figures—emergency responders or civilians—gathered in the foreground. A leafless tree stretches across the right side, and streaks of red mark hazard lines or tape. The colour palette is stark black, beige, and deep red, evoking destruction, resistance, and political urgency.

What Comes After War for Iran?

Regime Collapse, Revolution—or Something Worse?

A square graphic split vertically into two halves. On the left, a Barbie doll is depicted wearing a striped concentration camp uniform with a yellow Star of David and an identification number. On the right, a grey microwave oven is illustrated. The background uses muted beige, purple, and grey tones, with thick black outlines and a retro graphic style. The image critiques the commodification of trauma and modern consumer culture.

The Century of Soap and Barbie

Europeana is what happens when history loses faith in its own narrative. Part bureaucratic fever dream, part Adam Curtis montage, it recites the atrocities and absurdities of the twentieth century in a tone so flat it becomes damning.

A vivid red and orange photograph of a nuclear explosion during Operation Upshot-Knothole. A massive fireball and mushroom cloud dominate the image, illuminating the night sky. A steel test tower is visible in front of the blast, and silhouetted Joshua trees and human figures can be seen in the foreground, emphasising the scale and intensity of the detonation.

Destroy Everything, Explain Nothing

There are no responsible nuclear powers—only powers with the bomb and those without—and by explaining the science while ignoring the politics, Frank Close turns history’s most destructive weapon into a tale of tragic inevitability rather than state terror.

Shock and Awe, but for Who?

Israel’s assault on Iran wasn’t an act of self-defence or solidarity with the oppressed—it was a theatre of imperial dominance, applauded by the West, sold as morality, and carried out with the full force of a nuclear-backed settler state.

A digitally stylised, sepia-toned image depicting a large industrial fire at night from missile or bomb damage. Thick black smoke billows into the sky from a structure engulfed in flames, while bright streetlights cast dramatic glares across the scene. In the foreground, railway tracks and barriers are visible.

The Bomb and the Barrier: Israel’s Strike on Iran and the Logic of Imperialism

Israel’s strike on Iran is not self-defence—it is the brutal enforcement of a global hierarchy, where some states may possess the bomb and others must die for trying.

A stylised graphic in a 1968 protest-poster aesthetic shows a hooded figure silhouetted in black, arms outstretched, standing before a fiery red and white explosion. The background is highly textured with grainy, distressed effects. In the bottom right, bold red and black block capitals read: “BRITAIN’S POGROM LOGIC.”

Britain’s Pogrom Logic

The mob lit the match, but it was the right-wing press that soaked the ground and stood back to watch it burn.

Videogames, Labour and the Uncertain Future of Play

A whip smart and urgent examination of videogames as both a cultural force and a political battleground, Everything to Play For interrogates the industry’s contradictions: its creative potential, its exploitative labour practices, and its uncertain future in the age of AI.