On Oct. 27, 2023, the Israeli army released an animated video claiming to reveal what lay beneath Al-Shifa Hospital, Gaza’s largest medical complex. It showed underground tunnels, bunkers, and a Hamas command room — all depicted through slick 3D graphics.
“That information is ironclad,” insisted Mark Regev, then-senior adviser to Prime Minister Benjamin Netanyahu, during an interview the same day on CNN. “It’s based on Israeli intelligence.”
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But no such base was ever discovered. Moreover, the command room featured in the video was not unique; it had already appeared more than a year earlier in another animation published by the Israeli army, illustrating what it said was a tunnel beneath a UN Relief and Works Agency (UNRWA) school in Gaza. The surrounding streets in the “Al-Shifa” video, meanwhile, were populated with storefronts from a commercial 3D asset pack — replete with fictional establishments like “Fabio’s Pizzeria,” “Andre’s Bakery,” and “Revolution Bike Shop.”
The “Al-Shifa” animation would become one of the most notorious examples of Israel’s new wartime communication strategy. It also marked the beginning of an accelerated phase of production within the IDF’s Spokesperson’s Unit: having published only a handful of 3D visualizations before October 7, the unit has since released dozens of similar videos depicting supposed terror sites in Gaza, Lebanon, Syria, and Iran.
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A months-long investigation by +972 Magazine and Local Call together with the research collective Viewfinder, the Swiss network SRF, and the Scottish outlet The Ferret analyzed 43 animations produced by the Israeli army since October 7 and found that many contain serious spatial inaccuracies or prefabricated assets — sourced not from classified intelligence but rather from commercial libraries, content creators, and cultural institutions.
Interviews with soldiers involved in the production of these videos further illuminate how the army prioritizes the aesthetic value of the animations over their accuracy, while animators routinely embellish in order to emphasize a supposed threat.
The outcome is a communications campaign that mimics the graphics of forensic reconstructions in pursuit of legitimizing military strikes on civilian infrastructure. And as most of the sites depicted in the army’s animations remain inaccessible to journalists and researchers, and many have been blown up or demolished, Israel’s illustrated allegations effectively defy verification.
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In some cases, the “illustration” goes one step further, with fabricated environments replacing real places. In September 2024, the army published an animation depicting houses in southern Lebanon that it claimed were concealing missiles. Our investigation identified the area that the video zooms in on from a satellite image to be the outskirts of the village of Yater.
Yet a visit to the village last week found that no such buildings or streets exist in this area — and not because they were destroyed by the Israeli army, which bombed only a handful of sites in Yater. Indeed, the houses in the video are entirely fabricated, featuring antennas sourced from at least three unique models in Hubert’s “Antenna Kit” asset pack, which was published to his Patreon in March 2021.
The army published a similar 3D model at the start of its attack on Iran in June, depicting a uranium enrichment site in Natanz. As international media outlets rushed to cover the event, dozens republished the animation in part or in full, including the BBC, CNN, and Sky News. The interior of the facility depicted in the animation includes at least six of Hubert’s 3D assets, collectively replicated over 150 times.
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Experts have compared the aesthetics of the army’s burgeoning animation campaign with the fields of visual and open-source investigations, which are becoming increasingly popular for covering areas where traditional reporting can be difficult.
“I think the visual lexicon of open-source investigation is something that the Israelis have co-opted as a way to try to delegitimize [those investigations] and confuse,” said Elizabeth Breiner, head of programmes at the Forensic Architecture research center at Goldsmiths University of London. “These visuals are open about their status as something in between the real and the imaginary, but the real harm is that they stick with people well beyond the point after which something may have been functionally disproven.”
Zionists are shameless liars. Every one of their October 7th lies about beheaded babies and mass rapes has been debunked. There is plenty of evidence that hundreds of israelis killed that day were killed by their own tanks and Apaches. Yet they and their Zionist vassals still wheel out rapes and impaled babies on a regular basis.
Nothing they say can ever be trusted.
which is funny in a sad way since they’re seen as the “legitimate” sources with everything else being knee-jerked classified as misinformation.
Don’t paint the whole society with that brush. He came to power after his competitor was assassinated, and has been in power ever since. I knew in my gut back in the 90’s when that happened what had transpired. Many Israeli are against this.
“82% of Israelis want to expel Palestinians from Gaza; 47% want to kill every man, woman, child in Gaza”
https://geopoliticaleconomy.com/2025/05/30/poll-israelis-expel-palestinians-gaza-genocide/
There’s a reason corporate media in the West never interview “normal” israelis
Well, after checking out that organization and the Haaratz paper on its credibility, I see I might have overestimated the moral fiber of the general population. This looks legit, unfortunately.