![]() They achieve video game greatness in very different ways, but both owe a great deal not only to history but the fiction we’ve seen about World War II in other mediums. How can a game developer use elements of the true horror and tragedy of war in a way that feels respectful and true but also maintains the threshold of entertainment required when one plunks down $60 for a game? And is it exploitative to make a game that uses elements of the Third Reich or the Holocaust? I’m sure these are questions asked by the teams behind two of the biggest games of 2017: Activision’s “Call of Duty: WWII” and Bethesda’s “Wolfenstein II: The New Colossus.” They’re both emotionally resonant games that use imagery that gains power from the men and women who died in the 20 th century’s greatest international conflict. ![]() It seems like an even more prominent problem when it comes to video games. Playing war games, especially those based on real-life conflicts, reminds one of the famous Francois Truffaut theory that “there is no such thing as an anti-war film.” The point was that all war films, even ones that capture the waking nightmare of war, glamorize it simply by virtue of turning it into art. ![]()
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