Combating antisemitism through innovative gaming

While museums, books, and films often struggle to preserve the memory of the Holocaust among younger generations, Jewish-French-American gaming designer Luc Bernard offers an innovative approach: commemorating the Holocaust through one of the world’s most rapidly developing mediums—video games. In an exclusive interview with Ynet, less than a month before Holocaust Remembrance Day, Bernard explains why gaming is a vital tool for Holocaust education and combating antisemitism, as well as the challenges that come with it.

Bernard, the creator of the “Holocaust Museum” within the popular video game Fortnite, says the idea arose from a troubling statistic: “In the U.S., a significant percentage of young people have never even heard of the Holocaust, let alone visited a museum. I wanted to change that. Video games are a central medium in modern culture, and it’s important to use them in a positive and responsible way.”

A 2020 survey conducted by the Claims Conference, which examined Millennials’ and Generation Z’s knowledge and awareness of the Holocaust in the U.S., revealed alarming results: 63% of respondents were unaware that 6 million Jews were murdered during the Holocaust, 48% could not name a single concentration camp or ghetto, and 11% believed Jews themselves caused the Holocaust.

Recently, Bernard visited Israel as part of his participation in the international accelerator program “Kol Ha’am,” initiated by Israeli President Isaac Herzog. This program brings together Jewish leaders from around the world to develop practical solutions to challenges facing the Jewish diaspora. Bernard was selected to join the program’s Jewish Council, composed of 150 Jewish leaders tasked with creating innovative solutions to these challenges.

Bernard’s “Holocaust Museum” in Fortnite is a virtual museum within the game itself, telling the story of the extermination of 6 million European Jews. It provides players with an immersive experience, as close to a real-life museum visit as possible.

What kind of response has the “Holocaust Museum” received?
“The museum was one of the most popular in Fortnite, and millions of people worldwide were exposed to the story of the Holocaust through it, including many who might never have visited a traditional museum. This demonstrated that video games are an especially effective tool for education and raising historical awareness among young people.”

What do you think makes the “Holocaust Museum” experience so unique?
“I think the experience in the Fortnite museum resonates because the message is delivered effectively. Players are active participants—they’re not passive like when watching a movie or reading a book. They feel a part of the experience, which helps them remember and internalize the messages better. It allows them to develop a deeper connection to historical events and understand them more profoundly.”

Do you think it’s possible to measure the effectiveness of this kind of project?
“No museum or educational program can know for sure if their method truly works. We simply do our best, gather feedback, and constantly try to improve and adapt the content to the changing needs of younger generations.”

In addition to the museum, Bernard developed an original video game called The Light in the Darkness, which tells the story of a Jewish family in France during World War II as they navigate life under Nazi rule.

What was your goal with The Light in the Darkness?
“My goal was to create an experience that authentically reflects historical reality and gives players a deep understanding of the period.”

Are you afraid that video games could become politicized, especially if other groups start presenting their own narratives?
“Games have always been political to some extent, but they will never become purely political. At the end of the day, people want a good game and a compelling story. The story is the heart of the game, and that will never change. We have to separate unnecessary politicization from the responsible use of games as an important educational tool.”

What about groups who might want to use video games to tell their own stories, like Palestinians?
“I personally fully support freedom of expression. If Palestinians or any other group want to tell their story through a video game, they should be free to do so. Israel and the global Jewish community must understand that this is already happening, and sooner or later, it will gain even more traction. That’s why it’s important to prepare for it. Instead of reacting after the fact, we need to be proactive and offer high-quality, reliable, fact-based content from our side—especially content that appeals to younger generations.”

Are you worried about video games becoming tools for propaganda?
“Games, like music or films, are just tools. They can be used for various purposes, and the central question is how they’re used. My goal, and that of my colleagues, is to use games to raise awareness about important issues, not to spread propaganda. This is a huge responsibility, and it must be taken with the utmost seriousness. Of course, there will always be those who turn video games into propaganda tools, which is why it’s crucial to have a high-quality response ready for that moment.”

Bernard concludes with a clear and sharp message: “Jewish organizations and museums need to be more proactive in reaching out to younger generations, and right now, they’re largely failing at this. These organizations have taken ownership of the collective Jewish memory and are trying to dictate how we should remember the Holocaust and pass it on. It’s ridiculous, and it’s clearly not working.

“Video games are a critical tool for preserving memory, and it’s important to use them wisely. The goal is not just to remember the Holocaust but also to learn lessons for the future, prevent similar events from happening again, and instill understanding and sensitivity in future generations,” he concludes.