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The Islamic State of Iraq and Syria (ISIS)’s flagship English-language magazine, Dabiq, is a puzzle. The magazine is not, despite appearances, primarily designed for direct recruiting efforts or inciting violence against the West. In fact, the primary audiences of Dabiq are English-speaking second generation Muslims or converts, Western policymakers, and a third group of current or would-be members of ISIS who are not integrating with the organization itself. The third audience—those members who are failing to function within the organization—is strange to include in an English-language magazine. Why publish organizational weaknesses, in English? One possibility for this puzzle is that the fundamentalist hermeneutics of ISIS is reflected in their own media efforts. One of the assumptions that ISIS holds about their sacred texts is that each text carries a single meaning that reflects the author’s original intent. There might be multiple applications of that intent, but each text can only have one intent, and therefore one meaning. Following this logic, a message meant for one person is unlikely to be of utility for another, and so this may be why ISIS exposes their weaknesses as part of the process of correcting their own members.

This article offers a bottom-up understanding of the media strategy employed by the Islamic State of Iraq and the Levant (ISIL) as it relates to the production and dissemination of its hostage execution videos. Through an empirical analysis of sixty-two videos of executions produced by ISIL in the year following its establishment as the “Islamic State” in 2014, this study examines the videos as a major component of ISIL’s media strategy. Through these media products, ISIL seeks to spread a political message aimed at both local and global, ingroup and outgroup consumption through audience segmentation, while striving to influence both local and global audiences through the use and production of graphic violence. This article also discusses the strategy governing the production and release of ISIL’s execution videos; how it relies on the global media to transmit its intertwined political and religious agenda in the digital media age.

Nowadays, Social Networks have become an essential communication tools producing a large amount of information about their users and their interactions, which can be analysed with Data Mining methods. In the last years, Social Networks are being used to radicalise people. In this paper, we study the performance of a set of indicators and their respective metrics, devoted to assess the risk of radicalisation of a precise individual on three different datasets. Keyword-based metrics, even though depending on the written language, performs well when measuring frustration, perception of discrimination as well as declaration of negative and positive ideas about Western society and Jihadism, respectively. However, metrics based on frequent habits such as writing ellipses are not well enough to characterise a user in risk of radicalisation. The paper presents a detailed description of both, the set of indicators used to assess the radicalisation in Social Networks and the set of datasets used to evaluate them. Finally, an experimental study over these datasets are carried out to evaluate the performance of the metrics considered.

The Islamic State’s (IS) online propaganda has been analyzed from various perspectives aimed at defining the role of the Internet, the power of social media networks, and the main narratives processed online by terrorist organizations. Nevertheless, very little research has focused on defining IS’s comprehensive media strategy. To date, IS propaganda has been defined as multidimensional or as a mix of techniques related to moviemaking and video games. In consideration of the highly sophisticated IS online dissemination activity and its impact on Western youth who are already familiar with intensive media consumption, this article explores IS propaganda through a Hollywood-style transmedia approach. I analyze, through a qualitative content analysis of the magazine Dabiq narratives, IS propaganda as a comprehensive transmedia strategy centered on three key assets: synergistic storytelling, imaginary world-making, and semantic triggering.

This article presents a thematic network analysis of Dabiq—a prominent English-language e-magazine produced by the Islamic State. Through formal qualitative analysis, the article examines the e-magazine’s first 13 issues in order to better understand its structure, evolution and intended audiences. In terms of structure, thematic network analysis provides a comprehensive and holistic understanding of Dabiq’s themes, identifying a range of concerns that are broader and more complex than is often supposed by academic and professional commentators. In terms of evolution, this analysis reveals a thematic landscape that has demonstrated considerable dynamism over four distinct phases throughout the magazine’s publication. In terms of understanding audiences, it is argued that Dabiq has been particularly engaged with the manipulation of group-level identities in an apparent attempt to garner support from global audiences. Themes related to allegiance, the group’s strengths and victories, and territorial expansion all feature consistently and prominently. They seek to create an in-group identity centred on victory, and to frame the Islamic State’s expansion and successes as a group achievement on behalf of Islam itself. Additionally, Dabiq provides the Islamic State with an opportunity to justify its actions and its religious authenticity to a broader Muslim audience, and thus provide the Islamic State with legitimacy beyond its borders. Recognising these thematic dynamics will be important for those engaged in counter-messaging and the development of counternarratives.

This study analyzes how Inspire and Dabiq seek to appeal to and radicalize English-speaking Muslims. It examines how each magazine strategically designs ingroup, Other, crisis, and solution constructs and interplays these via value-, dichotomy-, and crisis-reinforcing narratives. This analysis also explores how narrative, imagery, and counternarrative messaging are used to shape readers’ perceptions and polarize their support. While both magazines are dominated by narratives designed to empower readers toward action, Inspire relies heavily on identity-choice appeals while Dabiq tends to balance identity- and rational-choice messaging. This study concludes by identifying key lessons for counterterrorism strategic communications campaign and message design.