© Brendan Shelper for battleROYAL

Last year’s unpredictable flow of events has brought on a wealth of concerns for individual lives, the corporate world, and governmental infrastructures alike. Most of all, it’s caused us to realize that we’ve become the unwilling victims of collective post-COVID fatigue — a sense of exhaustion nurtured by the fundamental shifts our world has undergone.

“Every age has its afflictions,” writes German-Korean philosopher Byung-Chul Han of the ailments specific to the digitized era of surveillance capitalism. In his book, The Burnout Society, Han openly addresses what he understands to be the main downfall of the Anthropocene: a vulnerable mental health…

© battleROYAL Berlin

In the past year, the radical upside-down flip of industries and individual lives alike has caused as much hardship as it’s generated new ways of thinking. Utterly unprecedented constraints have led companies to reassess not just their strategic approach and creative direction, but also their production methods. The shift we’ve witnessed echoes far and wide.

First and foremost, consumption has taken new forms: while home decoration, design and streaming services have seen profits boom, trends have elsewhere shifted, somewhat paradoxically, towards sustainability. Mass-production in the vein of fast fashion is being increasingly questioned, and consuming now needs to be conscious…

© battleROYAL Berlin x SIORUS Creative

The past year has seen a fusion of opposites quite unlike anything previously experienced in recent memory — isolation and hyperconnectivity, physical slowness and virtual velocity, stagnation and creativity. Crucially, it has prompted the farewell of most infrastructures once deemed indestructible, revealing, along the way, the glaring cracks and fissures nestled within economic, political and cultural titans. Production methods, supply chains, accessibility, messaging and offer all found themselves entirely reworked by the environmental adversity of the pandemic. To withstand the cyclone inhaling the world as we know it, the sturdy machine of cultural production — like most of its coevals…

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