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Gaming-adjacent platforms have become powerful vectors for antisemitic content, producing forms of digital hatred qualitatively distinct from social media. In the wake of the October 7, 2023 Hamas attack, this research investigated antisemitic visual propaganda across thirteen platforms, from mainstream spaces like TikTok, Steam, and VRChat, to fringe sites like Gab and 4chan. Through integrated semiotic-thematic analysis of 350 images sampled from a corpus of over 10,000 collected across twelve months, this article outlines four key findings. First, AI-generated imagery automated the mass reproduction of centuries-old economic stereotypes. Second, immersive virtual reality experiences enabled users to embody Nazi roleplay and Holocaust simulations. Third, sandbox games like Minecraft and Roblox were exploited to construct antisemitic monuments and symbols within family-friendly environments. Fourth, purpose-built games like Tunnel Rabbi deployed achievement mechanics to normalise extremist narratives. Across these findings, interactive participation recast users from spectators into co-producers of hate, distinguishing gaming-adjacent antisemitism from passive media consumption. Crucially, this antisemitism operated predominantly through Umwegkommunikation — indirect, coded communication travelling through gaming aesthetics, humour, and cultural symbols—defeating moderation systems calibrated for overt hate speech. The article concludes with targeted recommendations for researchers, platform operators, policymakers, and educators.
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Ashton Kingdon (2026) studied this question.
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