Call of Duty’s latest stunt is making a mockery of the Holocaust.

For Activision’s latest PR stunt to promote the new Call of Duty, Fer Machado and 72 & Sunny put up on a busy London street, a wall covered in blood alongside Nazi zombie heads.

It was a Halloween stunt to scare bystanders, but most of them were amused and took photos with the Zombies, laughing and having fun. While the heads were on the blood soaked walls, whose blood could that have been from? Was it from the Zombies or the victims of Nazis?

With record antisemitism in the UK, and Holocaust survivors getting messages on the internet saying they should of died, Fer Machado did not think to how this will make UK Jews feel to have Nazis be in the middle of the street, or worse how traumatic that would be to the remaining Holocaust survivors.

Katherine Brodsky who worked on Man in the High Castle after their stunt doing Nazi themed ads on the New York subway said “History is not a publicity stunt”. 

This highlights a bigger problem, which is that Jewish trauma does not count. That inside the diversity divisions in the gaming industry that Jews don’t count. 

I have witnessed this first hand, and now Call of Duty and Fer Machado are proud of profiting off the death of millions, while a 1/3rd of Holocaust survivors in the USA live in poverty, Activision and 72 and Sunny are busy making millions to billions off the trauma of the Holocaust.

About the Author
Luc Bernard is the Co-Founder & Executive Director for Voices of the Forgotten He brings together his creative vision and technical wizardry in a way that maximizes the emotional and educational impact of video games. In over a decade of designing and producing video games across many genres - during which time he has received continuous accolades for his work - Luc has created countless gaming innovations and sold tens of millions of copies of his games. In 2008, Luc developed an original - and initially controversial - idea to create a video game that would teach the history of the Holocaust. Knowing the story of his maternal grandmother, who looked after orphaned Jewish children after World War II, he had detailed knowledge of the atrocities of the Holocaust. He also had a growing concern that the impact of the Holocaust was being increasingly minimized, and education about it increasingly ignored. Once he conceived this groundbreaking concept - bringing Holocaust education to a modern audience in a new medium that more people would understand - he spent another 12 years finding the right people, building the development plan, and determining the most impactful way to tell the story.
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