Video Terms The game” and “The Holocaust” don’t seem to belong in the same sentence, yet Luke Bernard was working on something specifically like that. Hate incidents against Jews In the United States and around the world, motivated by a desire to pass on Holocaust education to a new generation, Bernard chose a project he had put aside nearly 10 years ago. “It was completely different back then, thank God I didn’t finish it,” he admits. The main difference between now and then? Add 83-year-old researcher Joan Salter, who has been appointed a member of the OBE for Holocaust Awareness Services, and Children and Holocaust Survivors, as the writer of the game.
Meanwhile, Bernard has had an extensive gaming career, working in 2009 Micho Wars and the God’s pocket series, output kitten band (The first beta platform video game for consoles), creativity Paraiso IslandHurricane Relief Game Puerto Rico. There is a personal side to his efforts, too. Bernard’s grandmother took care of Kindertransport Children, children of Jewish refugees who fled Nazi Germany to Great Britain in the late 1930s. However, Bernard only learned about his hidden Jewish family roots when he was a teenager.
named The light in the dark Set in Bernard’s hometown of France, the game shows how a seemingly normal society can quickly turn against the Jews. The characters in the game, a Polish Jewish family in France, are fictional, but the events are based on things that actually happened, many of them to the Salter family. “No matter how good a writer I can get, they won’t have the same feelings and feelings about the Holocaust as someone who actually experienced it – even if she was just a child, she and her family suffered from it. That’s why I think it became something special.”
The game follows the family’s experience in the lead up Phil de Heave reports In Paris in July 1942, when French police arrested foreign Jewish families (including more than 4,000 children) at the behest of German authorities. They were held in appalling conditions before being taken to concentration camps, and eventually to camps like Auschwitz where they were killed.
For both Salter and Bernard, accuracy and realism were key factors in everything from dates and locations to uniforms. When Bernard sent Salter pictures of some of the work he had previously done, I immediately caught the fact that the Nazis were collecting children. And I said no, they weren’t the Nazis. An important distinction, says Salter, was that the Vichy government arrested Jews even before the Nazis wanted them. The conversation developed from there.
“She’s the biggest critic,” says Bernard. “You’ll notice every detail. Long story short, the game won’t be released unless Joan approves of it.
Salter immediately realized that Bernard would stick to the fact that she was a Ville de Heve survivor. “But, of course, I was a little girl, while it’s so important to me that I spent 40 years researching it and registering the diplomas,” she says.
Bernard hopes that by playing the game and experiencing the story, the user becomes connected to the characters and is more eager to learn about the Holocaust and discrimination against Jews. “You’re trying to create empathy, so it has to be historically correct without it knocking in people’s heads,” Salter says. “You show how complicated it is. As with any drama, you have to empathize with the characters, and then see their lives slowly fall apart through no fault of theirs.”
Meanwhile, Bernard saw the video game industry as the only conversation games with its players about World War II from the perspective of American soldiers shooting Nazis, completely ignoring the horrors of the Holocaust. “This may be controversial, but I think pop culture has turned the Nazis into evil caricatures, like the zombie Nazis in Call of duty And Wolfenstein (which I like). You underestimate the real evil of what the Nazis are and what they did… and you capitalize on Jewish trauma,” Salter adds, “You have to walk a very fine line between sterilizing the Holocaust and striking down the absolute brutality really back home.” “