Barricades, as we know them today, are thought to date back to the European wars of religion. According to most historians, the first barricade went up in Paris in 1588; the word derives from the French barriques, or barrels, spontaneously put together. They have been assembled from the most diverse materials, from cobblestones, tyres, newspapers, dead horses and bags of ice (during Kyiv’s Euromaidan in 2013–14), to omnibuses and e‑scooters. Their tactical logic is close to that of guerrilla warfare: the authorities have to take the barricades in order to claim victory; all that those manning them have to do to prevail is to hold them.  The 19th century was the golden age for blocking narrow, labyrinthine streets. Paris had seen barricades go up nine times in the period before the Second Empire; during the July 1830 Revolution alone, 4,000 barricades had been erected (roughly one for every 200 Parisians). These barricades would not only stop, but also trap troops; people would then throw stones from windows or pour boiling water onto the streets. Georges‑Eugène Haussmann, Napoleon III’s prefect of Paris, famously created wide boulevards to make blocking by barricade more difficult and moving the military easier, and replaced cobblestones with macadam – a surface of crushed stone. As Flaubert observed in his Dictionary of Accepted Ideas: ‘Macadam: has cancelled revolutions. No more means to make barricades. Nevertheless rather inconvenient.’   Lead image: Barricades, as we know them today, are thought to have originated in early modern France. A colour engraving attributed to Achille‑Louis Martinet depicts the defence of a barricade during the 1830 July Revolution. Credit: Paris Musées / Musée Carnavalet – Histoire de Paris. Above: the socialist political thinker and activist Louis Auguste Blanqui – who was imprisoned by every regime that ruled France between 1815 and 1880 – drew instructions for how to build an effective barricade Under Napoleon III, Baron Haussmann widened Paris’s streets in his 1853–70 renovation of the city, making barricading more difficult Credit: Old Books Images / Alamy ‘On one hand, [the authorities] wanted to favour the circulation of ideas,’ reactionary intellectual Louis Veuillot observed apropos the ambiguous liberalism of the latter period of Napoleon III’s Second Empire. ‘On the other, to ensure the circulation of regiments.’ But ‘anti‑insurgency hardware’, as Justinien Tribillon has called it, also served to chase the working class out of the city centre: Haussmann’s projects amounted to a gigantic form of real-estate speculation, and the 1871 Paris Commune that followed constituted not just a short‑lived anarchist experiment featuring enormous barricades; it also signalled the return of the workers to the centre and, arguably, revenge for their dispossession.    By the mid‑19th century, observers questioned whether barricades still had practical meaning. Gottfried Semper’s barricade, constructed for the 1849 Dresden uprising, had proved unconquerable, but Friedrich Engels, one‑time ‘inspector of barricades’ in the Elberfeld insurrection of the same year, already suggested that the barricades’ primary meaning was now moral rather than military – a point to be echoed by Leon Trotsky in the subsequent century. Barricades symbolised bravery and the will to hold out among insurrectionists, and, not least, determination rather to destroy one’s possessions – and one’s neighbourhood – than put up with further oppression.   Not only self‑declared revolutionaries viewed things this way: the reformist Social Democrat leader Eduard Bernstein observed that ‘the barricade fight as a political weapon of the people has been completely eliminated due to changes in weapon technology and cities’ structures’. Bernstein was also picking up on the fact that, in the era of industrialisation, contention happened at least as much on the factory floor as on the streets. The strike, not the food riot or the defence of workers’ quartiers, became the paradigmatic form of conflict. Joshua Clover has pointed out in his 2016 book Riot. Strike. Riot: The New Era of Uprisings, that the price of labour, rather than the price of goods, caused people to confront the powerful. Blocking production grew more important than blocking the street. ‘The only weapons we have are our bodies, and we need to tuck them in places so wheels don’t turn’ Today, it is again blocking – not just people streaming along the streets in large marches – that is prominently associated with protests. Disrupting circulation is not only an important gesture in the face of climate emergency; blocking transport is a powerful form of protest in an economic system focused on logistics and just‑in‑time distribution. Members of Insulate Britain and Germany’s Last Generation super‑glue themselves to streets to stop car traffic to draw attention to the climate emergency; they have also attached themselves to airport runways. They form a human barricade of sorts, immobilising traffic by making themselves immovable.   Today’s protesters have made themselves consciously vulnerable. They in fact follow the advice of US civil rights’ Bayard Rustin who explained: ‘The only weapons we have are our bodies, and we need to tuck them in places so wheels don’t turn.’ Making oneself vulnerable might increase the chances of a majority of citizens seeing the importance of the cause which those engaged in civil disobedience are pursuing. Demonstrations – even large, unpredictable ones – are no longer sufficient. They draw too little attention and do not compel a reaction. Naomi Klein proposed the term ‘blockadia’ as ‘a roving transnational conflict zone’ in which people block extraction – be it open‑pit mines, fracking sites or tar sands pipelines – with their bodies. More often than not, these blockades are organised by local people opposing the fossil fuel industry, not environmental activists per se. Blockadia came to denote resistance to the Keystone XL pipeline as well as Canada’s First Nations‑led movement Idle No More. In cities, blocking can be accomplished with highly mobile structures. Like the barricade of the 19th century, they can be quickly assembled, yet are difficult to move; unlike old‑style barricades, they can also be quickly disassembled, removed and hidden (by those who have the engineering and architectural know‑how). Think of super tripods, intricate ‘protest beacons’ based on tensegrity principles, as well as inflatable cobblestones, pioneered by the artist‑activists of Tools for Action (and as analysed in Nick Newman’s recent volume Protest Architecture).   As recently as 1991, newly independent Latvia defended itself against Soviet tanks with the popular construction of barricades, in a series of confrontations that became known as the Barikādes Credit: Associated Press / Alamy Inversely, roadblocks can be used by police authorities to stop demonstrations and gatherings from taking place – protesters are seen removing such infrastructure in Dhaka during a general strike in 1999 Credit: REUTERS / Rafiqur Rahman / Bridgeman These inflatable objects are highly flexible, but can also be protective against police batons. They pose an awkward challenge to the authorities, who often end up looking ridiculous when dealing with them, and, as one of the inventors pointed out, they are guaranteed to create a media spectacle. This was also true of the 19th‑century barricade: people posed for pictures in front of them. As Wolfgang Scheppe, a curator of Architecture of the Barricade (currently on display at the Arsenale Institute for Politics of Representation in Venice), explains, these images helped the police to find Communards and mete out punishments after the end of the anarchist experiment. Much simpler structures can also be highly effective. In 2019, protesters in Hong Kong filled streets with little archways made from just three ordinary bricks: two standing upright, one resting on top. When touched, the falling top one would buttress the other two, and effectively block traffic. In line with their imperative of ‘be water’, protesters would retreat when the police appeared, but the ‘mini‑Stonehenges’ would remain and slow down the authorities. Today, elaborate architectures of protest, such as Extinction Rebellion’s ‘tensegrity towers’, are used to blockade roads and distribution networks – in this instance, Rupert Murdoch’s News UK printworks in Broxbourne, for the media group’s failure to report the climate emergency accurately Credit: Extinction Rebellion In June 2025, protests erupted in Los Angeles against the Trump administration’s deportation policies. Demonstrators barricaded downtown streets using various objects, including the pink public furniture designed by design firm Rios for Gloria Molina Grand Park. LAPD are seen advancing through tear gas Credit: Gina Ferazzi / Los Angeles Times via Getty Images Roads which radicals might want to target are not just ones in major metropoles and fancy post‑industrial downtowns. Rather, they might block the arteries leading to ‘fulfilment centres’ and harbours with container shipping. The model is not only Occupy Wall Street, which had initially called for the erection of ‘peaceful barricades’, but also the Occupy that led to the Oakland port shutdown in 2011. In short, such roadblocks disrupt what Phil Neel has called a ‘hinterland’ that is often invisible, yet crucial for contemporary capitalism. More recently, Extinction Rebellion targeted Amazon distribution centres in three European countries in November 2021; in the UK, they aimed to disrupt half of all deliveries on a Black Friday.   Will such blockades just anger consumers who, after all, are not present but are impatiently waiting for packages at home? One of the hopes associated with the traditional barricade was always that they might create spaces where protesters, police and previously indifferent citizens get talking; French theorists even expected them to become ‘a machine to produce the people’. That could be why military technology has evolved so that the authorities do not have to get close to the barricade: tear gas was first deployed against those on barricades before it was used in the First World War; so‑called riot control vehicles can ever more easily crush barricades. The challenge, then, for anyone who wishes to block is also how to get in other people’s faces – in order to have a chance to convince them of their cause.        2025-06-11 Kristina Rapacki Share

06/03 — 2025 by abduzeedo Explore the impactful branding and visual identity for Culture & Community Power Fund by Outside. See how design elevates community action. Hey creatives! Let's dive into some truly inspiring work today. Our friends at Outside, a global design and tech studio based in Kathmandu, recently rolled out a fresh brand and website for the Culture & Community Power Fund (C&CPF). This project isn't just about aesthetics; it's about design with a deeper purpose. Crafting a Visual Voice for Community Power C&CPF champions grassroots organizations. They focus on communities most affected by systemic oppression. Their mission involves direct funding, sharing resources, and building networks. Outside's goal was clear: uplift grantee work, create a wisdom hub, and clarify culture's role in social action . Elizabeth Lepro, Editorial Lead at Outside, shared that the project expanded their understanding of "culture." They aimed to visually inject the celebratory and communal aspects of shared spaces, rituals, stories, and traditions throughout the brand . This passion shines through in the final output. The Ampersand: A Symbol of Collaboration One standout element in C&CPF's new branding and visual identity is the ampersand (&). Outside emphasized this symbol in the logo, a direct nod to C&CPF's collaborative ethos. What's really clever is how they rendered the ampersand in various fonts. Each typeface reflects the diverse visions of C&CPF's partner-grantees. For instance, the rounded Akaya Kanadaka typeface conveys the joyful spirit of culturally infused community power building. Pilowlava, another typeface, speaks to a grantee-partner's work in urban farming and sustainability . It's a subtle yet powerful way to represent unity in diversity. Gritty, Bold, and Inviting Visuals Established in 2022, C&CPF is relatively new. They wanted to avoid looking overly traditional. Outside delivered a gritty, bold aesthetic, drawing inspiration from protest signs and zines. Snappy animations complement this vibe. They even provided image frames to unify varying aesthetics from featured organizations. The chosen color palette is a rich blend of orange, purple, yellow, black, and white. This combination expresses warmth and invitation, perfectly aligning with the Fund's focus on people and communities. The brand incorporates vibrant photography, showcasing scenes like festivals, local games, and urban farms. Bridging the Knowledge Gap Beyond the visual, Outside also provided copywriting and narrative support. They made sure the site explains "community power building" in accessible language. The "What is Community Power Building?" page breaks down basics, relevant vocabulary, and context. It clarifies that culture extends beyond art and music, encompassing traditions, stories, rituals, and shared spaces. A key feature is the "Knowledge Commons," a custom-built resource library. It serves both experienced practitioners and newcomers, fostering shared wisdom. This hub even accepts submissions, allowing C&CPF team members to edit and publish them. This project by Outside is a fantastic example of how thoughtful branding and visual identity can empower a mission. It shows that design isn't just about looking good; it's about building understanding, fostering connection, and driving meaningful change. What aspects of this purposeful design resonate most with you? Explore more of Outside's work and the Culture & Community Power Fund's initiatives to see how design can truly make an impact. Learn more about Outside's work Branding and visual identity artifacts Tags branding

It has long been said that an organisation’s greatest asset is its people. Employees are the driving force behind innovation, customer engagement, revenue growth, and company culture. In an era where political, social, and economic climates are in constant flux, particularly with ongoing debates surrounding diversity, equity and inclusion (DEI), it is more critical than ever for organisations to recognise the value of an inclusive workforce. There is a well-known saying: “When America sneezes, the rest of Europe catches a cold.” (often attributed to Charles Maurice de Talleyrand, a French diplomat from the 18th and 19th centuries). It rings particularly true today, as shifts in political and social climates challenge the notion of diversity programmes. This is evident in the recent ruling by the UK Supreme Court that the legal definition of a woman is based on biological sex. However, history has shown that political regimes and societal norms can change rapidly. Regardless of where one stands on these issues, the reality remains that for an organisation to thrive, its people must feel valued, supported, and included. Despite the growing focus on DEI programmes since 2020, many past initiatives have not been as effective as hoped. To move forward, the DEI industry and DEI professionals must conduct a rigorous retrospective analysis: What has worked? What hasn’t been effective? How can we improve? Without tangible metrics and data-driven insights, it becomes difficult to measure the success and impact of these initiatives, and this lack of clear outcomes may have contributed to what some define as the “backlash against DEI.” A common challenge has been the prioritisation of diversity over inclusion, leaving organisations ill-prepared to integrate diverse talent effectively. This has often resulted in short-term disruption - what change management refers to as the "storming" phase of team development - which in turn has led to team friction, a lack of belonging, and ultimately higher turnover rates among underrepresented employees. Organisations have not allowed enough time for teams to progress to the "norming" and "performing" periods in the face of high pressure to deliver results. To counter this, organisations must shift their mindset to focus on inclusion and belonging first. When a workplace fosters an inclusive culture, diverse talent is naturally welcomed, supported, and empowered to succeed. Rather than viewing differences as an obstacle, businesses must embrace them as strengths that drive innovation and growth. I often advocate for culture “add” rather than culture “fit”. As a former project and programme manager who transitioned into HR, I have witnessed firsthand the value of applying change management principles to DEI efforts. A successful change programme requires clearly defined goals, strong leadership buy-in, stakeholder engagement, a structured delivery methodology, and measurable outcomes. When these elements are absent, initiatives tend to falter. By adopting a structured, results-oriented, and data-driven approach, organisations can embed true inclusion into their core business strategy rather than treating it as a secondary initiative or a “nice to have”. It’s also important to regularly assess and reflect on what has worked, what hasn’t, and adapt and improve accordingly. In agile methodology, we call these retrospectives. Inclusion is key to successful DEI initiatives. In the past, these efforts may have created exclusion by failing to involve those who do not identify with the Equality Act's nine protected characteristics (age, disability, gender reassignment, marriage and civil partnership, pregnancy and maternity, race, religion or belief, sex, sexual orientation). This has led to defensiveness and fear instead of an understanding of historical inequity. When you are accustomed to privilege, equality can feel like oppression or exclusion and so we need to focus on how we can reframe inclusion work as being beneficial to all rather than to a few. Using storytelling, education, and relatability helps onboard more allies, understanding that equity is crucial to achieve equality. Inclusion means widening opportunities for everyone rather than limiting them to a select few. A wealth of research underscores the positive impact of inclusivity on business success. According to CIPD, 70% of employees report that a strong DEI culture positively impacts their job satisfaction. Forbes also discovered that 88% of consumers are more likely to be loyal to a company that supports social and environmental causes. Additionally, employees working in inclusive environments are 50% more likely to stay with their current employer for more than three years. Just over half of UK consumers (53%) say a brand's diversity and inclusion efforts, influence their purchase decisions. In fact, brands failing to act on Diversity, Equity and Inclusion risk losing out on £102bn annual spend from marginalised groups. Boston Consulting Group’s research demonstrates that organizations with diverse leadership see 19% higher innovation revenues. Beyond traditional meritocratic arguments, one principle is clear: inclusivity must be at the heart of every business strategy. Organisations where employees feel seen, heard, and valued naturally attract a broader, more diverse talent pool. Such employees tend to be more engaged, loyal, and productive, further strengthening the organisation's overall success and their bottom line. The UK tech industry is poised for continued growth and innovation, with a focus on emerging technologies like AI and quantum computing, however there is also a need to address challenges like talent shortages and international competition to maintain its position as a global leader.  Almost 95% of employers looking for tech talent have encountered a skills shortage in 2022, according to HR and recruitment firm Hays. In today’s job market, competitive salaries alone are not enough to attract and retain top talent. Employees now prioritise benefits, flexible working arrangements, career growth opportunities, and a sense of belonging. Organisations that prioritise inclusion, equal opportunities, and adaptability will be better positioned to navigate the evolving talent landscape and sustain long-term success. Ultimately, fostering an inclusive workplace is not merely a moral obligation; it is a business imperative. Companies that prioritise inclusion are more likely to attract top diverse talent, enhance employee engagement, and drive sustainable growth. Companies that fail to create inclusive environments are setting themselves up for failure. We are seeing more and more cases of sexual harassment, bullying and discrimination cases with high price tags. So, whether through loss of business, bad publicity or legal consequences, the price tag on exclusion can be staggering. Inclusion should not be seen as a separate HR initiative but as an integral part of an organisation’s DNA with all leaders owning an inclusion goal as part of their performance management. What gets measured, gets done! However, this can only happen if leaders and managers understand what inclusion truly means and they recognise that a diversity of voices, experiences and opinions will benefit their teams rather than hinder them. The future of work is about more than just employment—it is about providing opportunities for people to live, support their families, and achieve personal and professional growth. A poll, conducted by Ipsos for PA Mediapoint, indicates widespread support among the British public for key workplace DEI drives, including flexible working (71%), gender pay gap reporting (65%), and inclusivity training (64%). People care about wellbeing, inclusion and culture, which is why it is so important that organisations create workplaces where everyone is valued, empowered, and given the chance to succeed. True prosperity comes from ensuring that every individual, regardless of background and differences, can flourish. So, Inclusion does matter, particularly if you value creating a positive work environment that benefits employees, impacts the bottom line, and ensures everyone feels included rather than excluded. Read more about DEI in tech A lack of work-life balance and discrimination are among the biggest challenges for women in tech, finds Lorien When asked their opinions on the growing use of AI, girls expressed concerns about possible biases it will perpetuate, while boys were worried about cyber security

Few companies in the history of capitalism have amassed as much wealth and influence as Meta.A global superpower in the information space, Meta — the parent company of Facebook, Instagram, WhatsApp, and Threads — has a market cap of $1.68 trillion at the time of writing, which for a rough sense of scale is more than the gross domestic product of Spain.In spite of its immense influence, none of its internal algorithms can be scrutinized by public watchdogs. Its host country, the United States, has largely turned a blind eye to its dealings in exchange for free use of Meta's vast surveillance capabilities.That lack of oversight coupled with Meta's near-omnipresence as a social utility has had devastating consequences throughout the world, manifesting in crises like the genocide of Muslims in Myanmar, or the systemic suppression of Palestinian rights organizations.How do you uncover the harms caused by one of the most powerful companies on earth? In the case of public violence, the evidence isn't hard to trace. However, Meta's unprecedented corporate dynasty also creates less obvious harms, which scores of scholars, researchers, and journalists are devoting entire careers to uncovering.One prominent group of said investigators is GLAAD, the Gay & Lesbian Alliance Against Defamation, which recently released its annual report on social media safety, privacy, and expression for LGBTQ people.The report notes that Meta has undergone a "particularly extreme" ideological shift over the past year, adding harmful exceptions to its content moderation policies while disproportionately suppressing LGBTQ users and their content. The tech giant has also failed to give LGBTQ users sovereignty over their own personal data, which it collects, analyzes, and wields to generate huge profits.While Meta collects all of our data — from which it draws over 95 percent of its revenue — the practice is particularly harmful to LGBTQ users, who then have to contend with algorithmic biases, non-consensual outing, harassment, and in some countries state oppression."It's a dangerous time, certainly for trans people, who as a minority have been so ridiculously maligned, but also a dangerous time for gay people, openly bi[sexual] people, people who are different in any way," says Sarah Roberts, a UCLA professor and Director of the Center for Critical Internet Inquiry.To address these shortcomings and the dangers they introduce, GLAAD made a number of recommendations. One key suggestion was to improve moderation "by providing training for all content moderators focused on LGBTQ safety, privacy and expression." The media advocacy group doesn't mince words, adding that "AI systems should be used to flag for human review, not for automated removals."However, it doesn't look like Meta got the message.Weeks after GLAAD issued its findings, internal Meta documents leaked to NPR revealed the company's plan to hand 90 percent of its privacy and integrity reviews over to "artificial intelligence."This will impact nearly every new feature introduced to its platforms, where human moderators would typically evaluate new features for risks to privacy and safety, and the wellbeing of user groups like minors, immigrants, and LGBTQ people.Meta's internal risk assessment is an already opaque process, and Roberts notes that government attempts at risk oversight, like the EU's Digital Services Act, are likewise a labyrinth of filings which are largely dictated by the social media companies themselves. AI, chock full of biases and prone to errors — as admitted by Meta's own AI chief — is certain to make the situation even worse.Earlier this week, meanwhile, the Wall Street Journal revealed Meta's plans to fully automate advertising via the company's generative AI software, which will allow advertisers to "fully create and target ads" directly, with no human in the loop.This includes hyper-personalized ads, writes the WSJ, "so that users see different versions of the same ad in real time, based on factors such as geolocation."Data hoarders like Meta — which track you even when you're not using its platforms — have long been able to profile LGBTQ users based on gender identify and sexual orientation, including those who aren't publicly out.Removing any human from these already sinister practices serves to streamline operations and distance Meta from its own actions — "we didn't out gay users living under an oppressive government," the company can say, "even if our AI did." It's no coincidence that Meta had already disbanded its "Responsible AI" team as early as 2023.At the root of these decisions — Meta CEO Mark Zuckerberg's right wing turn notwithstanding — is the calculated drive to maximize revenue."If there's no reason to rigorously moderate harmful content, then why pay so many content moderators? Why engage researchers to look into the circulation of this kind of content?" observes Roberts. "There ends up being a real cost savings there.""One of the things I've always said is that content moderation of social media is not primarily about protecting people, it's about brand management," she told Futurism. "It's about the platform managing its brand in order to make the most hospitable environment for advertisers."Sometimes these corporate priorities line up with progressive causes, like LGBTQ user safety or voter registration. But when they don't, Roberts notes, "dollars are dollars.""We are looking at multibillion-dollar companies, the most capitalized companies in the world, who have operated with impunity for many, many years," she said. "How do you convince them that they should care, when other powerful sectors are telling them the opposite?"Share This Article

BUTTPEACH Quantum Witch is a story of religious oppression, queer emancipation, and a dancing skeleton that hopes to popularise the ‘plotformer’ genre We spoke to Quantum Witch’s lone developer – NikkiJay – about how her experiences as part of a religious cult shaped the development of her game, an 80s-style ‘plotformer’ about finding your lost flock of faer. Image credit: NikkiJay Article by Kelsey Raynor Guides Writer Published on May 29, 2025 You might not have heard of Quantum Witch, but if you’ve an affinity for pixel-art platformers with engaging story-beats, meta-narratives, and an array of kooky characters, then you should be all over it. To just call Quantum Witch a colourful platformer with a strong narrative (read: ‘plotformer’) is to do it a disservice, though. Quantum Witch is so much more than its vibrant pixels; it is NikkiJay’s personal story of fleeing a religious cult, embracing her LGBTQ+ identity, and seeking solace in video games. There’s a dark undercurrent, but ultimately, Nikki chooses to tell her story – and a story that many others will no doubt see themselves in – with humour and pride. To get a better idea of exactly what informed Quantum Witch and how the indie ‘plotformer’ came together, VG247 sat down with NikkiJay to ask how growing up in a religious cult led to the development of the game and what she hopes audiences will get from it. The below interview discusses religious trauma, coercive control, and the abuse of power. To see this content please enable targeting cookies. VG247: I’m aware that Quantum Witch is largely informed by your own personal experiences of fleeing a religious cult; would you mind sharing some more about your experience, and how it has informed Quantum Witch’s story and characters? Nikki: I was born into the group and my family on both sides were third generation. Age 10, I needed my tonsils out and I had to tell the surgeon that I would rather die than accept certain medical treatments. As a 10-year-old, it's one of the questions they ask when you go for CPTSD diagnosis: “did you at any point honestly really believe you were going to die?” Yeah, I was told I had to be prepared for that. I had to die for God if that was the option that was presented to me. Either take this medical treatment that God said I couldn't have or die. I had to choose death. This cult literally kills kids for God. A lot of people stayed because the alternative was to lose your entire support structure and social network. You were literally by yourself with nothing, which was the option I chose in the end. It’s high coercive control. This way, they say that you have the personality God wants you to have. Religious control and abuse of that power is the biggest theme that made it into Quantum Witch. It is very much again about urgency and choice: I think if people have been through similar things, it's going to resonate with them. VG247: During the demo, I got the impression that Ren is largely not interested in the religious beliefs shared with her by others in Quantum Witch, but she still appears to have a fascination with the Old Gods. I have two questions about this: is Ren on the fence, so to speak, about her beliefs? Does this align with any of your thoughts and feelings about religion now? Nikki: Yeah, I am agnostic. I am a skeptic. I have to be open to the possibilities. A skeptic who isn't open to possibilities isn’t a skeptic. They're a cynic, and Ren is very much a skeptic. The majority of the characters in the game are just aspects of me that I've made into a character, it's just a little piece of me that I've enhanced without turning it into a stereotype as far as I can. Tyra [Ren’s partner] is more cynical: ‘come on, it's nonsense’. And Ren’s like, ‘no, let's go find out’. Her desire to go explore is going to lead her into things that she shouldn't have explored in the way that she's going to. But yeah, she is definitely that part of me who would like for there to be magic. Image credit: NikkiJay VG247: Quantum Witch’s marketplace – which features unnamed characters that bear uncanny resemblances to some iconic video game mascots – is what I assume to be a representation of some of your favourite games. The game itself regularly reminded me of themes and mechanics from Undertale, The Binding of Isaac, and even Stardew Valley. What other games or pieces of media helped inspire Quantum Witch, and how? Nikki: I love Undertale. What I loved about Undertale is the mixture of all those styles and then you'd be talking to a character and suddenly you have to play a really fast reaction game. I can't do that. I'm too old. But it was a big inspiration in the style of game I wanted to create. As for the reason why the video game characters are there in the plot of [Quantum Witch’s] story; they do tie into the plot and there's a little hint that they say. And I just loved putting in my alternate takes on who these characters were. You might know Paul Rose from Digitizer. At the very beginning of the project, I had all my story beats worked out. This is what's going to happen. This is how it's all going to interact, but I could not – for the life of me – start it. I couldn't build the bridges between these beats and Rose helped me a lot. He did a script treatment and some of the dialogue in the marketplace is directly from him; [one of the characters you meet is] talking about pills and I was like, ‘that that just fits in perfectly because there is a character later on who might need that pill’. It’s also a bit of a cue for me to have the characters talk about medication. . I also wanted to add some queer flavor to them, so Princess Nectarine – who is similar to but legally distinct from a certain Nintendo character – is in a polycule with Bowser and Mario and they like to roleplay kidnapping. I did not set out to make a queer game. It's turned out that way because I can't help it, but it's not all these characters are. VG247: I know you’re a solo developer and this is a largely solo project, but I’m aware you’ve received some help with the whole endeavour. You mentioned Paul Rose. So could you tell me more about the people who have helped you with creating Quantum Witch and what they did? Nikki: I must absolutely shout out Jerden Cooke for the music. We composed a lot of it together, [with] me mostly on the ukulele which you can hear in Ren's theme. I don't know if you've seen the video clip of David Lynch helping compose Laura's Theme from Twin Peaks. Working with him is like that. I got some fantastic music which was like the music I could hear in my head when I started playing on the ukulele. He was able to put it down, basically extract it from my head, and put it into a word file. And Paul Rose; I knew him through Digitizer meetups. We just got talking on Twitter one day and met up. He's a great guy and things came about quite naturally because it was when Covid hit and a lot of TV work got cancelled. I said to him, look, you should get yourself on Fiverr. Put your writing services out there because people should be paying for this. I will be your first customer, and so I was! Without his help, this would have still been a collection of little story beats that I would have had no idea how to wire together. And I've always wanted to work with Stephanie Sterling. What if I just ping her on Bluesky and say, "Hey, want to write a chapter of this game? It's got a dancing skeleton in it." She said, "Yeah, I'm in." She said that when she started to do it, she wasn't entirely sure whether it would be the right project because she just saw a [dancing] skeleton. The more she wrote for [Quantum Witch] and the more she played the game, she went, "Yeah, this is my wheelhouse,” and she poured her religious trauma into it, which happened to just fit absolutely perfectly. It's like I could not have asked for a better group of people to work with, and this is kind of what I want to say to indie developers who are solo. You're not alone. You might just want one name on the credit, but it takes a village to raise a child. Image credit: NikkiJay VG247: I was taken aback by just how cosy the game is. Admittedly, even with the subject matter, I didn’t expect – largely given the art style – for this to be all doom and gloom, but I definitely didn’t expect something so jovial and honestly, straight-up funny. How did you decide that this was the approach you wanted to take when creating Ren’s story? Nikki: [Stardew Valley], Chrono Trigger and Paper Mario: Thousand-Year Door are my three most played games. I love the style of Stardew Valley and I love that there's some darkness hidden in Stardew Valley. I really liked the humor in it. I mean, if you thought I shouldn't be laughing at this, but I am, then that’s an achievement. That's exactly what I wanted. My main coping mechanism is humor. I'm not saying it's a healthy coping mechanism, but it kind of works. And I mean, I was heavily influenced by reading a lot of Douglas Adams. and he was able to find humor in the most bleak situations. And the graphical style… When I started this, I couldn't draw a convincing stick figure. I look at the art that I did four years ago when I started messing about with this idea and it's just embarrassing. Objectively terrible, but my main influences were Stardew Valley and The Darkside Detective. I loved the low-resolution style art, but there was so much character in them. So, I took a pixel art course on Udemy and a color theory course and… then just found, hey, I can do this now. That's weird. VG247: While looking into Quantum Witch and yourself, I found a lovely quote of yours from The Guardian: “A lot of religion is about giving up autonomy to some mystical power that you’ve never seen, heard or met. Over the course of the game, Ren takes that agency back… It’s a queer emancipation story.” Could you expand on this? Nikki: The consequence of being yourself in a group that says ‘no, being yourself is wrong’ is that you just get thrown out. It's weird because I think of my experiences as unique, but the themes they really do seem to be universal. Stephanie Sterling from The Jimquisition: she wrote a chapter of the later part of the game. I originally said to her, can you write these three scenes? She came back and said “I couldn't stop writing. I just love this universe” It's weird, because you wouldn't know it was a different author. The religious oppression of queer people is the same wherever you go. I'm really hoping just that I've got that balance right between a game that's fun and cozy and humorous, – that there is a dancing skeleton who can see through time – but also has that deeper meaning and that message that you take back control. A lot of people would look at this and think ‘you must be anti-religion’ and I'm 100% for freedom of religion, but that also means I'm 100% for freedom from religion. Whether you've got faith or not, nobody wants somebody else's faith forced on you. You can't have freedom of religion without freedom from religion. Image credit: NikkiJay VG247: How long is Quantum Witch set to be, and how many endings will there be? I know you also mentioned some side quests having various conclusions, as well as the game’s main endings being different depending on your decisions. Nikki: I watched a tester play from beginning to end. It took him about three and a half hours, and he got my second favorite ending. He had questions about the lore and I said, "play it again and make different choices, and you'll get a different ending, which will probably answer that for you." It's difficult to say how many endings there are. There's three definite categories of endings. There's bleak. There's interesting, where you kind of get a bittersweet ending, and then there's the super happy ending, and there are variations on each of those. [These depend] on the characters you've helped. There's also little puzzles that you can go and solve which can enhance the happy ending. It's kind of like an open-world choose-your-own adventure book, but in pixel format. If I'm going to do a full playthrough of all choices and all stories, I will easily put aside six or seven hours to do it and I wrote it. So, I'm not trying to discover it. I think it's like The Stanley Parable in that sense. VG247: I also learned that Quantum Witch could have been a novel. It could have initially started out that way and you then obviously decided to turn this into a game. How did that come about? Nikki: One of my friends was doing the National Novel Writing November. I thought, I've got this story in my head which might fit, so I started writing it. I don't know if anybody's realized this, [but video games] are quite difficult to make, and novels are very easy because you just type... I was wrong and I really did not enjoy writing it. I decided, thinking back on my childhood, I want to make this into a game. I want to make this interactive. Choice is a big theme. I want to give the player a choice. And it did end up as a point and click [game] for a while, rather than a plotformer. No matter what you do, it is a valid choice. There are no game over screens in Quantum Witch. Anything you do is just a part of the story and the game is over when you get the credits. Quantum Witch is a surprisingly cosy and jovial take on topics of religious trauma and queer identities, but if your curiosity about this game is piqued, it’s up to you to find out all of its secrets. NikkiJay stresses that there’s so much to discover for those who are eager to explore the game and discover all of its various paths, endings, and dialogue. For those who want to try Quantum Witch out, you can find a demo for the game on Steam, and it’ll also be participating in Steam’s Next Fest during June.

The Cannes film festival isn’t typically associated with video games, but this year it’s playing host to an unusual collaboration. Lili is a co-production between the New York-based game studio iNK Stories (creator of 1979 Revolution: Black Friday, about a photojournalist in Iran) and the Royal Shakespeare Company, and it’s been turning heads with its eye-catching translocation of Macbeth to modern-day Iran.“It’s been such an incredible coup to have it as the first video game experience at Cannes,” says iNK Stories co-founder Vassiliki Khonsari. “People have gone in saying, I’m not familiar playing games, so I may just try it out for five minutes. […] But then once they’re in, there is this growing sense of empowerment that people from the film world are feeling.”The Cannes festival’s Immersive Competition began in 2024, although the lineup doesn’t usually feature traditional video games. “VR films and projection mapping is the thrust of it,” says iNK Stories’ other co-founder, Vassiliki’s husband Navid Khonsari. But Lili weaves live-action footage with video game mechanics in a similar way to a game such as Telling Lies or Immortality. Its lead, Zar Amir Ebrahimi, won best actress at Cannes three years ago.Lili focuses on the story of Lady Macbeth, here cast as the ambitious wife of an upwardly mobile officer in the Basij (a paramilitary volunteer militia within the Islamic Revolutionary Guard in Iran). As in the play, she plots a murder to secure her husband’s rise. “I think that the narrative of Lady Macbeth is that she’s manipulative, and that’s exactly what got us interested,” says Navid.“The social limitations based on her gender forced her to try to attain whatever leadership role she can,” he continues. “If she was a man, she would have been one of the greatest kings that country would have ever experienced, but because she was a woman she had to work within the structure that was there for her. And I think this is the same thing that we have with our Lili character: because of society, she’s limited to how high she can rise.”The player is cast as a member of the Hecate Web, a group of hackers who stand in for Macbeth’s witches, and you begin by accessing Lili’s phone and computer, watching her on CCTV cameras inside her home. The oppression of surveillance and censorship is a key theme. At one point Lili tries to access a YouTube makeup tutorial, only to be blocked by the state’s firewall. The fact that the player takes on an uncomfortable voyeuristic role is intentional. “We’re all part of the problem when it comes to surveillance, when it comes to looking at each other, spying on each other,” says Navid.‘She’s suffocating in the various layers of masks that she must put on’ … Zar Amir Ebrahimi in Lili. Photograph: Ellie SmithYou can bypass it to give her access, however, prompting a memorable scene in which she wraps her head in clingfilm before applying eyeliner and lipstick. “That is her ritual, applying makeup in a world that she cannot do that [in], without her husband knowing or anyone else knowing,” says Vassiliki. “We love it as this sort of allegory, that she’s suffocating in the world and in the various layers of masks that she must put on herself … our Lady Macbeth, our Lili, has an awakening, and all of those tools that we’ve used to hack her become tools that we actually give her to help her take the system down from within.”Lili is scheduled for release in late 2026, and the RSC’s Sarah Ellis says that it might well be turned into a play at some point in the future. Navid says there are already plans for a film version, using some of the same footage shot for the game – a reminder that the boundaries between the worlds of gaming, movies and theatre are increasingly porous. This is unlikely to be the last time the RSC is involved in games.“I was always interested in games, and the convergence of games and theatre in particular,” says Ellis, who originally approached iNK with the idea for this collaboration. “We’ve worked with some of the best Shakespeare scholars … Professor Emma Smith from Oxford has been an absolute keystone in the dramaturgy of this work,” says Ellis. Smith has said that if Shakespeare were alive today, he’d be writing for games, and Ellis agrees: “He was an innovator.”

A group of GeoGuessr map creators have pulled their contributions from the game to protest its participation in the Esports World Cup 2025, calling the tournament "a sportswashing tool used by the government of Saudi Arabia to distract from and conceal its horrific human rights record." The protestors say the blackout will hold until the game's publisher, GeoGuessr AB, cancels its planned Last Chance Wildcard tournament at the EWC in Riyadh, Saudi Arabia, from July 21 to 27. GeoGuessr is a browser game where players try to pinpoint locations using only Google Street View images, and it relies on community mapmakers to stay relevant. The blackout, which began on May 21, includes "dozens of creators and their maps, including a supermajority of the most popular competitively relevant world maps," according to a statement the group shared on Reddit. The removed maps have been played tens of millions of times. One of the largest GeoGuessr communities, Plonk It, has also removed its Map Directory and shared the mapping community's open letter. That statement reads in full as follows: We, the creators of a considerable share of GeoGuessr’s most popular maps, have decided to make our maps unplayable in protest of GeoGuessr AB’s decision to host a World Championship wildcard tourney at the Esports World Cup (EWC) in Riyadh. The EWC is a sportswashing tool used by the government of Saudi Arabia to distract from and conceal its horrific human rights record. Groups targeted by the government include women, LGBTQ people, apostates and atheists, political dissenters, migrant workers in the Kafala system, religious minorities, and many others. The subjugation of these groups is extensive and pervasive. Members of these groups are routinely subjected to discrimination, imprisonment, torture, and even public executions. These severe human rights violations are well-documented and indisputable. By participating in the EWC, GeoGuessr is contributing to that sportswashing agenda, which is designed to take attention away from Saudi Arabia's human rights violations. The GeoGuessr community is diverse and includes many members of groups that would be harshly persecuted were they to live in Saudi Arabia. In solidarity with those currently residing in Saudi Arabia while being subject to oppression, as well as members of the community who would feel and be unsafe attending the tournament in Riyadh, we have decided to black out our maps by replacing all their previous locations with random garbage locations, rendering them unplayable. This blackout includes dozens of creators and their maps, including a supermajority of the most popular competitively relevant world maps. It will continue until we see action from GeoGuessr; specifically, we demand that GeoGuessr cancels its wildcard event in Saudi Arabia and commits to not hosting any events there as long as it continues its oppressive regime. You don't play games with human rights. Thank you for reading. The GeoGuessr mapping community We've hit up GeoGuessr AB for a comment on the blackout and will update this story as we hear back. The EWC is a huge, multi-game event owned and operated by the Saudi government and held in the country's capital city. It's an evolution of the Gamers8 tournament and this year marks the second EWC-branded competition; it's due to take place in July and August with a total prize pool of $38 million, split among 24 games. Franchises participating in the 2025 event include Rocket League, Apex Legends, Call of Duty, League of Legends, Counter-Strike, Overwatch, Dota 2, Valorant, Street Fighter 6, EA Sports FC and PUBG. It's difficult to compete in esports without running into Savvy Games Group, the video game arm of Saudi Arabia's Public Investment Fund. Alongside hosting the EWC, Savvy has financial stakes in Nexon (10.2 percent ownership), Electronic Arts (9 percent), Embracer Group (8.3 percent), Nintendo (7.5 percent), Capcom (5 percent) and Take-Two Interactive (6.8 percent as of 2023). Savvy also runs ESL FACEIT Group, which contains the Electronic Sports League, a longstanding and significant esports event company. The New York Times reported last year that the Saudi government plans to invest $38 billion in the video game industry by 2030. Human rights groups including Amnesty International and Human Rights Watch have long documented the abuses of the Saudi government. HRW describes Saudi Arabia's human rights record as "abysmal," and specifically calls out the PIF as a reputational whitewashing tool. Saudi authorities have been accused of sportswashing in traditional sports as well, specifically through the country's ownership of LIV Golf and Newcastle United FC. In February, Riot Games — the operator of League of Legends, Valorant and Teamfight Tactics, and arguably the largest name in esports — signed a three-year deal with the Esports World Cup Foundation for an undisclosed sum. Riot defended the partnership, arguing that the resulting financial boon for players and the esports industry outweighed other concerns. "We know some of you may not feel great about our decision to partner with the EWC in this way, and we respect that," Riot's statement read. Though corporate support for the EWC remains strong, the GeoGuessr mapping community isn't alone in rejecting this year's tournament. Street Fighter 6 player Christopher Hancock, who plays as ChrisCCH for FlyQuest, recently declined his spot at EWC 2025. In a social media statement, Hancock said, "I gave this decision a lot of thought and ultimately decided that, due to the nature in which the event is funded and managed, I do not feel comfortable participating in it." He added that the partnership between the Capcom Pro Tour and the EWC effectively forced him to work with the Saudi-backed group. "Choosing to not participate in any EWC qualifiers would effectively mean retirement from competing," Hancock said. "I find it regrettable that this event has become so deeply embedded in the [fighting game community], but I have not yet made a decision on whether I will stop competing in events associated to it altogether." Alongside the GeoGuessr map blackout, the community protest added one new, short challenge to the game called How to Run A Dictatorship. It takes players through five locations around Riyadh, documenting the alleged government-sanctioned torture, kidnapping, imprisonment and oppression of women, LGBTQ people, religious minorities and political dissenters occurring in these places. The challenge takes just a few minutes, so feel free to experience it yourself.This article originally appeared on Engadget at https://www.engadget.com/gaming/geoguessr-community-maps-go-dark-in-protest-of-ewc-ties-to-human-rights-abuses-221037118.html?src=rss

Artist and musician Brian Eno — who also composed the iconic Windows 95 operating system startup chime — called on Microsoft today to “suspend all services that support any operations that contribute to violations of international law,” saying the company plays a role in “surveillance, violence, and destruction in Palestine.” It’s the latest high-profile instance of the tech giant being pressed on its contracts with the Israeli government.“I gladly took on the [Windows 95] project as a creative challenge and enjoyed the interaction with my contacts at the company,” Eno wrote on Instagram. “I never would have believed that the same company could one day be implicated in the machinery of oppression and war.”The musician — who was a member of the influential rock band Roxy Music and has also had a long, storied solo career — specifically called out Microsoft’s contracts with Israel’s Ministry of Defense. Microsoft acknowledged last week that it has contracts with the Israeli government for cloud and AI services, but claimed that an internal review conducted found “no evidence” that its tools were used to “target or harm people” in Gaza.Microsoft has been taken to task in recent weeks over its business dealings with the Israeli government specifically. The outcry over Microsoft’s contracts with Israel relates to the ongoing bombardment of Gaza following Hamas attacks on Israel on October 7th, 2023. Human rights groups, including commissions at the United Nations, have accused Israel of war crimes and genocidal acts in its military operation that has killed thousands; as of this month, the Gaza Health Ministry reported more than 52,000 deaths, though some researchers say that number could be as high as 109,000 people.Some of Microsoft’s fiercest critics are its own employees opposed to the company’s ties to Israel.Earlier this week during Microsoft’s developer conference, multiple onstage events were disrupted, including CEO Satya Nadella’s keynote speech on Monday. During the event, Microsoft employee Joe Lopez interrupted Nadella, yelling, “How about you show Israeli war crimes are powered by Azure?” The following day, a protester described only as a “Palestinian tech worker” disrupted another executive’s presentation. On Wednesday, protesters disrupted a third session — and in the commotion, Microsoft inadvertently revealed internal messages regarding Walmart’s use of AI.In April, Microsoft employee Ibtihal Aboussad disrupted a 50th-anniversary event, calling Microsoft AI CEO Mustafa Suleyman “a war profiteer.” Another employee disrupted a second Microsoft event the same day. The acts of protest were organized by the No Azure for Apartheid group, which calls for Microsoft to terminate contracts with the Israeli government and endorse a permanent ceasefire, among other demands. Aboussad was fired from the company; the second protester, Vaniya Agrawal, was dismissed early after putting in her resignation.Microsoft did not immediately respond to a request for comment. Eno, a longtime critic of the Israeli government who’s backed pro-Palestine efforts, said on Instagram he would use his original earnings from the Windows 95 startup chime to help “the victims of the attacks on Gaza.”See More:

Warning: contains spoilers for The Handmaid’s Tale season 6 episode 9 “Execution”.  The wages of sin is death? You got that right, Wharton. In “Execution”, the wages of the commanders’ sins were a glittering firework of a death thanks to Joseph Lawrence – economist, loving father, freedom fighter and part-time James Bond.  Talk about laying low the arrogance of the terrible (“Guess you decided to join the winners,” crowed Nick, just before they were all blasted into bitesize BBQ chunks). Amid calls for cigars, Lawrence and his Mayday bomb laid the whole plane approximately 30,000 feet lower than planned, ensuring that his epitaph would read more than: Designed Gilead, Good at Sarcasm. Lawrence’s poignant sacrifice was the best part of this penultimate episode. Nobody could ever think that noose would really tighten around June’s neck this close to the end, making that scaffold scene much more perfunctory than its histrionic tone suggested. Ann Dowd’s Aunt Lydia already has a job lined up in sequel series The Testaments, which effectively took the rope from around her neck too even before Mayday struck. Moira, Janine… They were all bound to get out of it somehow – a sentiment that’s has been this show’s curse for seasons now.  Every arrest, every blocked escape route, every cage, we’ve been able to calmly wait through instead of holding our breath in terror that this could be the moment we lose someone important. We never do because The Handmaid’s Tale is too protective of its main characters – a crazy thing to type considering what this story has put them all through. What were the words to the Taylor Swift song that soundtracked this week’s opening scenes? “I rose up from the dead. I do it all the time.” That could have been this show’s theme song. It’s certainly June’s. Finally, though, finally, we’ve lost somebody. Two somebodies. Joseph Lawrence and Nick Blaine aren’t coming back for the sequel, and the work done in this final season to explain their inner workings paid off handsomely.  Unlike June, I shed no tears for Nick, who made his choice and now has to live – or rather not live – with it. After his Jezebels betrayal and the “Forget it, Rita, it’s Chinatown” moment that followed, we understood that Nick was no heroic double agent, but a lost kid who’d sold out his ideals for survival. Well, look how well that ended up. June may have silently howled as he climbed those steps into the jet, but I was mentally ushering him up them with a cheery ‘byeee’.  Lawrence, however, hurt. There hasn’t been enough screentime developing his redemption-through-love-of-a-child arc this season, but what little we’ve seen has been effective. Joseph thawing over little Angela – whose future he must have been picturing when he chose to follow Wharton and co. onto that plane – has been a beautiful final path for a complex character. The grouchy, wry loner melting under the full-beam affection of a child is a storytelling classic for a reason, and here it gave us that wonderful goodbye scene with his copy of The Little Princess. Even Naomi seemed human for a millisecond as she took on board Lawrence’s plea to ignore one of Gilead’s ugly edicts and to teach their kidnapped child to read.  By the time that Lawrence, blindsided by the early arrival of the other commanders, made his brave choice and paused momentarily to put his hand on his chest in a goodbye gesture to June, I was feeling well fed. After years of asking where this brilliant, evil mind stood morally, Lawrence’s ending put him firmly on the “one of us” side.  The doubly widowed Serena’s place there is fixed too, according to June. Like Lawrence, Serena gave up the commanders to right her past wrongs, but more importantly, she did it for this episode’s theme of love. That’s what June exhorted Wharton to choose instead of revenge. That’s the plea June made to Serena about the world they both wanted for their children. Those were the words June, Janine and Moira exchanged as their leader was led away yet again in cuffs. (7 minutes 45 seconds, by the way – the amount of time between June and the Handmaids running triumphantly towards their freedom at the end of last episode, and them cowering at gunpoint under a bridge in this. This show is an abusive relationship.)  Join our mailing list Get the best of Den of Geek delivered right to your inbox! Setting up love as Gilead’s opposite is an unbeatable argument, as June found in her appeals to Serena, Wharton and last episode, to Aunt Lydia. What really sold those appeals though, and particularly to those audiences, was June’s Christianity. Making her character a theist has been a masterstroke on the part of this story’s creators, because it broadens the argument base. June, who can quote scripture with the best of them, can’t be dismissed as ignorant and godless. Her belief negates any accusation from the religious right that this show’s messages are anti-faith. They’re not. They’re anti-oppression, pro-love, and, in the right circumstances, all for taking out the bastards who grind us down. The Handmaid’s Tale concludes with “The Handmaid’s Tale” on Tuesday May 27 on Hulu. Season six airs on Channel 4 in the UK. 

Anita Hofschneider & Ayurella Horn-Muller, Grist Published May 18, 2025 | Comments (0) | Newly elected Pope Leo XIV, Robert Prevost arrives on the main central loggia balcony of the St Peter's Basilica for the first time. © ALBERTO PIZZOLI/AFP via Getty Images On a sweltering January day in 2018, Pope Francis addressed 100,000 of the faithful in Puerto Maldonado, Peru, not far from where gold mining had ravaged an expanse of Amazon rainforest about the size of Colorado. “The native Amazonian peoples have probably never been so threatened on their own lands as they are at present,” he told the crowd. He simultaneously condemned extractive industries and conservation efforts that “under the guise of preserving the forest, hoard great expanses of woodland and negotiate with them, leading to situations of oppression for the native peoples.” Francis denounced the insatiable consumerism that drives the destruction of the Amazon, supported those who say Indigenous peoples’ guardianship of their own territories should be respected, and urged everyone to defend isolated tribes. “Their cosmic vision and their wisdom have much to teach those of us who are not part of their culture,” he said. To Julio Cusurichi Palacios, an Indigenous leader who was in the stadium that day, the words from the head of the Catholic Church — which claims 1.4 billion members and has a long, sordid history of violence against Indigenous peoples worldwide — were welcome and momentous. “Few world leaders have spoken about our issues, and the pope said publicly the rights of Indigenous peoples were historically violated,” he said after Pope Francis died last month. “Let us hope that the new pope is a person who can continue implementing the position the pope who passed away has been talking about.” During his 12 years as pontiff, Francis radically reshaped how the world’s most powerful religious institution approached the moral and ethical call to protect the planet. Beyond his invocations for Indigenous rights, Francis acknowledged the Church’s role in colonization, and considered climate change a moral issue born of rampant consumption and materialism. As the Trump administration dismantles climate action and cuts funding to Indigenous peoples around the world — and far-right politics continues to rise globally — experts see the conclave’s selection of Robert Francis Prevost, or Pope Leo XIV as he is now known, as a clear beacon that the faith-based climate justice movement his predecessor led isn’t going anywhere. In 2015, Pope Francis released his historic papal letter, or encyclical, titled Laudato si’. In the roughly 180-page document, he unequivocally identified planet-heating pollution as a pressing global issue disproportionately impacting the world’s poor, and condemned the outsize role wealthy countries like the U.S. have in contributing to the climate crisis. With it, Francis did what no pope had done before: He spoke with great clarity and urgency about human degradation of the environment being not just an environmental issue, but a social and moral one. Laudato si’ established the definitive connection between faith, climate change, and social justice, and made it a tenet of Catholic doctrine. The lasting influence of Francis’ encyclical would be buoyed by his other writings, homilies, and his direct appeals to world leaders. He was, for example, credited with helping rally nearly 200 countries to sign the 2015 Paris Agreement, regularly urged cooperation at international climate summits, and released a follow-up to his pioneering encyclical in 2023 that sounded the alarm in the face of the climate crisis. “Pope Francis routinely said that we have a throwaway society. We throw away people, we throw away nature … and that we really need a culture that’s much more based in care,” said Christopher Cox, executive director of the Seventh Generation Interfaith Coalition for Responsible Investment and a former priest. “That means care for people, especially the most poor, the most vulnerable, the most marginalized. And we also need much greater care for creation. We’ve been given a beautiful earth and we’re consuming it at a rate that goes far beyond what will be able to sustain life for the long term.” The first Latin American pope, Francis was unique in implicitly embracing some elements of liberation theology, a Catholic social justice movement that calls for the liberation of marginalized peoples from oppression. Although Francis was occasionally critical of the doctrine’s Marxist elements and never fully supportive of it, many observers see his statements regarding poor and Indigenous peoples as reflective of the doctrine’s central values. “Right from the beginning of his papacy, that outreach, that recognition of Indigenous ways of being Catholic and Indigenous language in Catholicism, heralded — up to that point — the most expansive official recognition of Indigenous contributions to Catholicism thus far,” said Eben Levey, an assistant professor of history at Alfred University who has studied the relationship between Catholic Church and Indigenous peoples in Latin America. In the centuries since conquistadores arrived in the Americas and forced Indigenous peoples to accept their religion, many Indigenous communities have made Catholicism their own, and a growing number of church leaders have embraced the idea that there are multiple ways of being Catholic and that Catholicism and Indigenous cultures can coexist. A year after becoming pope, Francis approved the use of two Mayan languages, Tzotzil and Tzeltal, in mass and sacraments like baptism and confession. In 2015 he expanded that list to include the Aztec language Nahuatl, and in 2016, during a visit to Mexico, he celebrated mass in Tzeltal, Tzotzil and Chol. In 2022, Francis officially apologized to Canada for the residential schools that ripped Indigenous children from their families, leading to the deaths of many who were later buried in unmarked graves. The following year, he rejected the Doctrine of Discovery, a religious concept that colonizers used to justify the illegal seizure of land from Indigenous peoples and became part of an 1823 U.S. Supreme Court ruling that described Native Americans as “savages.” “The Doctrine of Discovery is not part of the teaching of the Catholic Church,” Pope Francis said, adding that he strongly supports the global implementation of the United Nations Declaration on the Rights of Indigenous Peoples. He also drew a clear connection between those rights and climate action: In 2023, he made clear that Indigenous peoples are critical to fighting climate change when he said, “Ignoring the original communities in the safeguarding of the Earth is a serious mistake, not to say a great injustice.” But Pope Francis’ progressivism had its limits. In 2019, he called for a meeting of church leaders, known as the Synod of Bishops, for the Pan-Amazon region to address issues affecting the Amazon Basin. Indigenous Catholics who attended brought up illegal logging and violence against land defenders and proposed reforms. “The ancestral wisdom of the aboriginal peoples affirms that mother earth has a feminine face,” reads the document that emerged from the gathering and urged the church to give women more leadership roles and allow married deacons to be ordained as priests. In his response, Francis condemned corporations that destroy the Amazon as committing “injustice and crime,” yet refused to embrace the proposals to make church leadership more inclusive of women and married men. Francis’ climate activism was also riddled in constraint. He transformed how religious institutions viewed the climate crisis, framing a failure to act on it as a brutal injustice toward the most vulnerable, but could have implemented “more direct institutional action,” said Nadia Ahmad, a Barry University School of Law associate professor who has studied faith-based environmental action. Though the former pontiff publicly supported renewable energy adoption, called for fossil fuel disinvestment, and prompted churches across the world to go solar, he did not mandate what he deemed a “radical energy transition” across dioceses, schools, and hospitals. The work he accomplished “could have been amplified a bit more and had more accountability,” said Ahmad. But that limitation, she noted, likely stemmed from contradictory politics playing out within the church — many traditional, conservative Catholics, particularly in the United States, resisted Francis’ progressive teachings. A 2021 study found that over a period of five years, most U.S. bishops were “nearly silent and sometimes even misleading,” in their official messaging to parishioners about climate change and the pope’s famed encyclical. Though Pope Leo XIV has been lauded for his advocacy in defense of immigrants and worker rights — his namesake, Leo XIII, who reigned from 1878 until 1903 is known as a historical Catholic champion of social justice and equality — the new pope’s track record on engaging directly with climate change is sparse. Still, Mary Evelyn Tucker, co-director of the Yale Forum on Religion and Ecology, sees comments the new pope made last year on the need to move “from words to action” as a promising sign that he will continue Francis’ commitment to communicating the urgency of a warming world. The timing of the conclave’s unprecedented decision to select the first pontiff from the United States, coming amid the Trump administration’s sweeping dismissal of climate action, elimination of environmental protections, and attacks on Indigenous rights, isn’t lost on her. “It may be a signal to say ‘America, come back into the world community, come back into a planetary future where we collectively have been working to create a future worthy of our children and our children’s children,’” she said. Leo grew up in Chicago and is a citizen of both the U.S. and Peru, where he spent decades serving as a missionary and bishop before Francis made him a cardinal in 2023. He speaks five languages fluently and some Quechua, an Indigenous Incan language. While he was working in Peru in the 1990s, Leo was critical of the government’s human rights abuses — though he refrained from explicitly taking sides in the political fight between Maoist rebels and the government of then-dictator Alberto Fujimori, according to Matthew Casey, a historian and clinical associate professor at Arizona State University based in Lima. Still, his reaction to the country’s authoritarianism could provide a glimpse of what stances he might take as pope, Casey said. “It doesn’t matter who was abusing human rights, he was on the side of the people,” he said. In 2016, the would-be pontiff spoke at a conference in Brazil where attendees talked about threats to the Amazon rainforest and Indigenous peoples who lived there. He praised Francis’ encyclical, describing the document as “very important,” and representing “something new in terms of this explicit expression of the church’s concern for all of creation.” To Casey, that suggests Pope Leo XIV, like his predecessor, has an awareness of the issues affecting Indigenous peoples, such as the rampant degradation of the environment. “Both Francis and Prevost are attuned to Indigeneity in ways that they couldn’t have been if they worked in Europe or the United States, because the politics of Indigeneity in Latin America are just so different,” Casey said. More than a week after the conclave that named him pope, communities across Peru are still celebrating the selection of Pope Leo XIV. Francis and Leo’s shared experiences working with marginalized communities harmed by colonialism and climate change, and their commitment to the social justice aspects of the church’s mission, are particularly meaningful in this political moment, said Levey, the Alfred University historian. “We are seeing a resurgence of ultra right wing politics globally, and the Catholic Church next to the United Nations is one of the few multilateral organizations perhaps capable of responding in some form or fashion to the questions of our modern age or contemporary moment,” he said. This article originally appeared in Grist at https://grist.org/international/pope-leo-climate-catholic-indigenous-francis/. Grist is a nonprofit, independent media organization dedicated to telling stories of climate solutions and a just future. Learn more at Grist.org. Daily Newsletter You May Also Like By Matt Novak Published February 18, 2025