00:01Some narrative-driven games try to depict the persecution and murder of Jews in a historically accurate way.
00:09One example is The Light in the Darkness, which tells the story of a Jewish family in Nazi-occupied Paris.
00:16The historical content is presented primarily through text and documents rather than game mechanics and algorithms.
00:22Players cannot win, and there's a reason for that.
00:28By putting the Holocaust in the game and having even this concept of winning or losing, we could say, we
00:35could victim blame.
00:37We could say, why did this person, did this and not that, and that is why he didn't survive.
00:44Some games address this by not putting players in the role of victims, but by looking back at past events
00:50instead.
00:52In The Darkest Files players take on the role of a prosecutor during the Frankfurt-Auschwitz trials in the 1960s,
01:00investigating crimes committed in the Nazi era.
01:07In The Red Line a detective pursues war criminals who were able to flee after the end of World War
01:13II thanks to secret networks.
01:15Both games find a way to engage with the horrors of the past without forcing players to actually relive them.
01:25There is no way of changing the past.
01:28So we're going to put these events already in the past of the in-game time and therefore we can't
01:36mess with it, we can't change it, we can't blame the victims because it already happened.
01:42As the last living witnesses pass away, direct access to their memories will disappear.
01:47In games, however, their stories can continue to be conveyed in a personal and immersive way.
01:55Gaming is bigger in terms of profit more than movies and music combined together.
02:03If our goal is to continue with the Holocaust memory and with the remembrance for the next generations,
02:10it's not that we have to use this tool, it's that if we're not using it, we are overlooking something
02:17that has so much potential.
02:22The time we use this tool is to create our own experiences.
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