A Palestinian Game Developer Aims to Showcase the Rich History of His Homeland Through Gaming

When you think of Palestine, what images come to mind? Do you picture the stark visuals often shown in the news—abandoned structures, debris-strewn landscapes, weary individuals waiting for aid, or the injured and deceased?

Or can you envision a different Palestine, one filled with vibrant gardens and blooming trees? A place where colorful crafts are made, delicious meals are shared, and clear waters flow? What about communities where people gather joyfully for meals, celebrations, or simply to enjoy each other’s company?

Palestinian game designer Rasheed Abueideh aims to share a vision of Palestine that reflects its rich history, particularly one that existed nearly 80 years ago, before the 1948 Nakba, which forcibly displaced around 750,000 Palestinians from their homes. As time passes and the narrative is dominated by images of conflict and destruction, it becomes increasingly challenging to imagine what everyday life was like back then.

Through his game, Abueideh hopes to illuminate the past to foster a deeper understanding of the current situation: the roots of the ongoing conflict, the lives of Palestinians today, their yearning to return to a homeland many have never seen, and the resilience of those who choose to remain despite the challenges.

Abueideh is the creative director of *Dreams on a Pillow*, a game that tells the story of a Palestinian woman escaping the Nakba and the trauma she endures. He is developing this project while living in Nablus, in the West Bank, which has been under Israeli occupation since the 1960s. The ongoing occupation has made it nearly impossible to establish a viable gaming industry in Palestine. Abueideh explains that game development requires a level of security and stability that is often absent, leaving no room for failure. “Living under occupation is a daily struggle,” he states. “Just surviving is a challenge, so providing for my family and navigating daily life is a constant battle. As a result, pursuing a career in game development became unfeasible.”

Over the years, Abueideh has supported his family, which includes six sons, through various means. In 2016, he released a free game titled *Liyla and the Shadows of War*, which focused on the 2014 Gaza War. Initially rejected by a major app store, it was later approved following public outcry. However, due to the need to support his family, he stepped away from game development for several years.

“I tried to start my own company,” he recalls. “The economy here is challenging; we lack an independent economy in Palestine. Everything is tied to the occupation. Building a startup or a successful tech company is difficult because of the small local market and limited exposure to the outside world. To create something impactful, you often need to be elsewhere.”

Then, on October 7, 2023, militant groups launched an attack on Israel, resulting in significant casualties and hostages. In retaliation, Israel initiated a war on Gaza, leading to an estimated 75,000 deaths, with many international organizations suggesting the actual toll is much higher. Some governments and organizations have labeled the conflict a genocide.

In light of these events, Abueideh felt compelled to contribute to a broader understanding of the situation. “You often hear that it’s complicated,” he says, referring to the common narrative surrounding the Gaza conflict. This inspired *Dreams on a Pillow*, where he aims to explore the “root cause” of the current events in Palestine while also reflecting on what was lost during the Nakba.

*Dreams on a Pillow* recounts the story of a Palestinian mother whose village is attacked by armed groups. Her husband is killed, and her home is destroyed. In the chaos, she mistakenly grabs a pillow instead of her child while fleeing. The game follows her journey into Lebanon, where she clings to the pillow, believing it to be her child. As she navigates her escape, she must avoid soldiers and bombs, often needing to set down the pillow, which triggers hallucinations and nightmares, complicating her journey. “Through her perspective, we explore the Nakba and its psychological impact on her and the Palestinian community, a trauma passed down through generations,” Abueideh explains.

The game also features flashbacks to Omm’s childhood in Tantura, depicted in vibrant colors that contrast with the darker tones of her present. Abueideh has previously discussed the game’s structure, and the recent gameplay trailer highlights this contrast. “We wanted to portray Palestine as a land filled with people, not just a ‘land without people for a people without land,’” he emphasizes. “We needed to showcase the beauty of Palestine, its culture, and its history, illustrating the stark difference between life before and after the Nakba.”

Abueideh notes that Tantura no longer exists as it once did; the area is now a tourist resort, and many believe a mass grave lies beneath a parking lot.

*Dreams on a Pillow* was first announced in 2024 alongside a crowdfunding campaign that raised $244,000 in its initial phase. He has since launched a second campaign aiming for $400,000, which had garnered just over $41,000 at the time of this writing. With the funds raised, Abueideh has assembled a team—some full-time, some on contract, and some volunteers—to make significant strides in development. They have built the necessary tools, pipelines, and foundations for the game, including characters, the setting of Tantura, and a narrative system. The project has moved from pre-production into full production, with about 18 months of work anticipated, though he acknowledges that timeline could shift rapidly.

Throughout this process, Abueideh and his family remain in Palestine, aware that his work on *Dreams on a Pillow* could attract unwanted attention. For this reason, he chooses not to disclose the names of his collaborators. “I don’t think any game developer can truly understand the stress I’m under because of this project,” he admits. “Game development is inherently stressful, but being in this situation, witnessing friends being detained for no reason, makes you question whether it’s worth it to create this here. Can it be done elsewhere? I can’t fully articulate the struggle I’m facing right now.”

When asked if he has ever considered leaving Palestine, he immediately responds, “No,” then pauses before elaborating:

“It’s a complex question. Definitely no, but I constantly think about where to raise my children and whether it’s safe. These internal struggles revolve around finding a peaceful environment for my family. But that’s exactly what they want you to feel—to leave. When I walk the streets, I see billboards from settlers and Israelis proclaiming, ‘No future in Palestine.’ It feels like a commercial urging you to leave. This only strengthens my resolve to stay because that’s what they want. They desire a Palestine without Palestinians. They want to take over the land, and I will remain, regardless of the risks to me or my family.”