When speculation rife that Microsoft expects to finalize its purchase of Activision Blizzard this week, and COD: Modern Warfare III out in a month, it seems people have been wondering when Activision’s games will start appearing on Microsoft’s Game Pass. According to a tweet from Activision Blizzard, it should be some time next year.
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The entire debacle of Microsoft’s attempts to buy Activision Blizzard feels it has been clogging up gaming news for years. In fact, it all started only last January, but followed hot on the heels of months of grim and gruesome reporting on the heinous working conditions at the developer’s various studios. This week could see that enormous, shitty chapter come to a close. Presumably so another enormous, shitty chapter can start.
But still, more games on Game Pass!
“As we continue to work toward regulatory approval of the Microsoft deal,” said Activision Blizzard on X, “we’ve been getting some questions whether our upcoming and recently launched games will be available via Game Pass.”
The Verge reported on Friday that Microsoft is getting ready to close the $68.7 billion deal, with October 13 thought to be the Big Day. Of course, this is all being held back by the UK Competition and Markets Authority (CMA), which is the one international regulator that managed to decisively block the deal. However, being the UK’s CMA, it did it in the most cack-handed way, blathering on about unfair market control of cloud gaming, or some-such abstract technicality.
This complete whiff, entirely ignoring the concerns of, you know, Microsoft forming an actual monopoly, ensured a pathway for the two corporations to renegotiate arrangements such that it would avert the CMA’s peculiar strategy, and a couple of weeks ago it was provisionally stated it had succeeded. We should be finding out this week if the CMA is entirely satisfied, and given that’s likely to be the case, signet-ring-bearing hands will shake and overpriced Champagne shall be popped, as a bunch of extraordinarily rich people stand to get even richer.
“While we do not have plans to put Modern Warfare III or Diablo IV into Game Pass this year,” continues that Activision tweet, “once the deal closes, we expect to start working with Xbox to bring our titles to more players around the world.” So when? “And we anticipate that we would begin adding games into Game Pass sometime in the course of next year.”
It’s oddly slow, if anything. They’ll be the same company, and they’ve known they would been the same company for the last 20 months, so it seems strange that it’ll take another few months before Microsoft will be hosting what will suddenly become first-party games on its own streaming service.
There’s one small cloud hanging over their grey-suited celebrations: the FTC still has an appear in with the Ninth Circuit Court of Appeals, and that decision won’t appear until December. Should it succeed, it would then become about trying to undo the already sealed deal, which would be a whole other level of difficult, and no one surely believes the FTC has the teeth or the fight in it to win.
So, the industry shrinks yet again, with less competition, fewer major publishers attempting to outsell each other, and so less choice and worse prices for the gaming public. It doesn’t seem like the games industry can be far away from the monstrous and idiotic situation of the music industry, in the control of the Big Four record labels. It certainly seems unlikely that any regulatory bodies will be able to stop it, either way.
But you know, you can get next year’s COD on your subscription, so shhhhh.
The video game industry is still reeling from Epic Games’ September 28 announcement that it will lay off nearly 900 employees. If developers at the Fortnite money-printing factory aren’t safe, nobody is. In perhaps the worst-timed microtransaction ever, Fortnite’s “Share The Wealth” emote went back up for sale on the battle royale’s in-game shop later that day.
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It didn’t take Fortnite news accounts like Guille_GAG long to discover the emote had returned to cap off the a day full of grim news. “Epic has brought back the Share the Wealth Emote just after firing 900 of their employees…,” they tweeted. “Epic Games is under fire for selling the ‘Share the Wealth’ Emote in today’s Item Shop rotation – just hours after 830 employees were laid off,” the FortniteBR Instagram account posted.
It appears the emote, which was added to the game earlier this year in Chapter 4: Season 3, was only on sale for a brief period before being removed. According to FortniteBR and others, the emote was removed when Epic took down the entire Daily Rotation tab from the store shortly after the emote went live.
A company spokesperson told Kotaku in an email that the “Share The Wealth” emote was pre-scheduled. “The emote was taken down when we realized the mistake roughly one hour after going live,” they wrote. Epic Games acknowledged the missing feature on Twitter and said it would return during the next item shop refresh.
“We’ve been spending way more money than we earn,” Epic CEO Tim Sweeney wrote in an email to staff announcing the layoffs. It was a peculiar invocation of of the royal “we,” considering the executive then proceeded to list acquisitions, expansions, and other business initiatives, like growing Fortnite as a metaverse-inspired ecosystem for creators, that most of the people laid off probably had no say in.
It’s unclear what sort of salary Sweeney and other executives at the company draw. Epic remains a privately owned company, so it doesn’t have to disclose any of that information. Sweeney has pushed back again the concept of a wealth tax in the past, claiming that it would penalize people like him by forcing them to sell equity in their companies anytime they become more valuable. While the larger company remains a black box, we do know that Fortnite made $9 billion in its first two years, and Epic continues to rake in “billions of dollars a year in revenue from player purchases.”
“The reality of being laid off by Epic while being treated for skin cancer has hit me and woken me from a not sound sleep and I don’t think there are words for how furious I am at the company, the leadership, their greed…all of it.” one former Epic employee tweeted overnight. In the meantime, Epic is still burning money on things like Epic Games Store, its Steam competitor, showering players with free games. The latest freebie is the action RPG Soulstice, which is normally listed at $40.
“Saying goodbye to people who have helped build Epic is a terrible experience for all,” Sweeney wrote in his email to staff. “The consolation is that we’re adequately funded to support laid off employees: we’re offering a severance package that includes six months base pay and in the US/Canada/Brazil six months of Epic-paid healthcare.”
The next batch of cross-over operators was just announced for Call of Duty: Modern Warfare II and Warzone, and it includes none other than Diablo IV’s Succubi queen Lilith and fallen archangel Inarius. Plus a bunch of other horror stars like Spawn and Evil Dead’s Ash Williams. No doubt it will be another bloodbath.
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Activision revealed the season 6 operators on Thursday alongside teases for other horror-themed content, including the return of The Haunting event in October. The seasonal update goes live on Septmebr 27 and will even include a Doom-themed bundle complete with a chainsaw. Al Simmons will be one of the new operators alongside a host of Spawn-related skins, including a couple for the superhero himself as well as Creepy Clown and Violator.
Lilith, Diablo IV’s main antagonist, and Inarius, the hooded asshole, will be separate purchases added to the shop, joined by Skeletor (He-Man), Ash Williams (Evil Dead 2), and Alucard (Hellsing). I can’t wait to see how they play in the Call of Duty sandbox alongside rapper Nicki Minaj, NBA star Kevin Durant, and the Burger King guy. The upcoming event should make the time go a little faster until Modern Warfare 3drops on November 10.
For those who might not be aware, Call of Duty has been going fullblown Fortnite for quite a while now, mixing things up with wild cross-overs from across the pop culture landscape. In July it was characters from Amazon Prime superhero dramedy, The Boys, with Temp V abilities like Homelander’s red eye lasers torching every player in sight.
Some have bemoaned the silliness of it all for undermining the “very-serious” war shooter. Others enjoy the changing party costumes, if not always the seasonal grinds and prices that come with them. The weapons at least, like the Doom bundle, will carry over into Modern Warfare 3.
This week brought us a wonderful treasure trove of leaks from deep inside the highest echelons of Microsoft’s Xbox division, accidentally shared online as a result of the company’s legal battle with the Federal Trade Commission over its now-greenlit Activision acquisition. These confidential emails, slides, and images of potential new products from the Xbox manufacturer reveal the inner workings of Microsoft’s gaming division, as well as whispers of some possible new games from Bethesda.
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The leaks happened courtesy of Microsoft itself, as it provided these sensitive documents to the court via a publicly accessible link. Yesterday Microsoft Gaming CEO Phil Spencer reacted to the leaks, saying that it “was hard to see our team’s work shared in this way.”
“At some point,” Spencer wrote, “getting Nintendo would be a career moment.” He speculated that the Japanese games giant could become more open to acquisition offers in the future due to changing pressures on its board of directors. “It’s just taking a long time for Nintendo to realize that their future exists off of their own hardware,” he wrote. “A long time… 🙂
The emails also reveal that Microsoft thought about purchasing Valve and Warner Bros. Games.
Bethesda might be working on an Oblivion remaster
Because I decided to flip my Xbox 360 from vertical to horizontal while it was running Oblivion, my adventuring in Tamriel was cut short via a huge circular scratch on the disc that no amount of toothpaste could remedy. Maybe I’ll get another chance; while it’s still up in the air, the 2006 Elder Scrolls adventure might get a fancy new remaster in which I could make up for those lost years.
Bethesda’s roadmap was among the many recently released Xbox documents. It includes a sequel to Ghostwire: Tokyo, a Dishonored 3, and remasters of Fallout 3 and The Elder Scrolls IV: Oblivion. Also, don’t expect The Elder Scrolls VI for quite a while.
Spencer: AAA game publishers lost their mojo
Phil Spencer stated that “AAA publishers were slow to react to [the disruption]” of digital storefronts like Steam and the shops built into Xbox and PlayStation.
In a leaked email, Spencer wrote that third-party publishers were unable to replicate the “dominance” they established back in the days of video game retail. After losing their advantage of highly exclusive access to consumers in brick and mortar stores, they “have not found a way to effectively cross promote, they have not found a way to build publisher brands that drive consumer affinity (the way Disney has in video).”
He noted that instead they’ve adopted a strategy of making huge bets on highly expensive prestige projects, relying on those risky, all-in bets to establish and maintain publisher brands. He concluded that “the role of a AAA publisher has changed and become less important in today’s gaming industry.”
Microsoft expected a Red Dead Redemption 2 next-gen refresh
The Xbox Series X and Series S consoles hit the market in 2020. Since then, the lower-powered, disc-less Series S actually makes up the majority of units sold. As of April 2022, 74.8 percent of Xbox Series owners were gaming on a Series S, suggesting just a quarter of the base left gaming on the more-powerful Xbox Series X unit.
Microsoft dramatically underestimated Baldur’s Gate 3
Baldur’s Gate 3 is a super good time. But Microsoft didn’t seem to think the D&D RPG would amount to much. In leaked comments, Microsoft estimated a $5 million expense to get the game on Game Pass, justifying the low monetary amount by describing Baldur’s Gate 3 as a “second-run Stadia PC RPG.”
Reacting to this statement, Larian’s director of publishing noted that Microsoft was far from alone in underestimating the appeal of Baldur’s Gate 3.
Phil Spencer wasn’t impressed by PS5 reveal
In an email to Microsoft CEO Satya Nadella, Phil Spencer described the Xbox Series X/S line as a “better product than [what] Sony has, not just on hardware but equally important on the software platform and services.” He continued, “we have the ingredients of a winning plan […] today was a good day for us.”
Microsoft accidentally got an ‘exclusive’ Sega game
As the next-gen consoles launched in 2020 fans of Sega’s long-running Yakuza series were surprised that its latest entry, the RPG Like a Dragon, was available on Xbox Series X/S but not PlayStation 5. The Yakuza series had long been associated with PlayStation; what was up?
Yesterday’s leak revealed that Microsoft was just as surprised, and it turns out the reason for Like a Dragon landing on Xbox first was due to two competing regional exclusivity agreements Sega made essentially short-circuited each other. The result? Xbox players ate well while PlayStation fans wept into their DualSenses.
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We didn’t just get scans of emails from very serious people, we also got some images and details of possible forthcoming hardware, including a cylindrical-shaped Xbox Series X that won’t include a disc drive.
Code named “Brooklin,” the leaked data indicates that the possible hardware refresh will include “more internal storage, faster Wi-Fi, reduced power” and a “more immersive controller.”
The potential 2024 hardware refresh might also see a new Xbox gamepad hit the market. The image of a controller codenamed “Sebile” shows a two-tone color design and promises modular thumbsticks and features that many a PlayStation fan have known for a few years now: “lift to wake,” “precision haptic feedback,” and an accelerometer.
Despite how the controller may look in this image, the copy indicates that it will feature the “same ergonomics” as the current Xbox Series X/S controller (codenamed “Merlin”).
Microsoft sees its next Xbox as a cloud ‘hybrid’ machine
Slides projecting the future of the Xbox platform indicate that Microsoft is very much looking to the cloud (where have I heard that before?) to help power its post Xbox Series X/S console, for which it’s looking at a 2028 release.
Microsoft describes such a machine as a “next-generation hybrid game platform capable of leveraging the combined power of the client and cloud to deliver deeper immersion and entirely new classes of game experiences.” Cool?
So while we might get some sequels to beloved games like Dishonored and a fancy new controller for Xbox and PC, the leaked Microsoft materials also portend another nail in the coffin for physical game media . But hey, maybe Mario and Master Chief will get to go on a little adventure together at some point.
Elder Scrolls VI won’t be coming to PS5 whenever it finally debuts. Though you might’ve already filed this news under “well, duh,” it’s now clear as day courtesy of official documentation from Microsoft.
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Originally announced at E3 2018 (which Bethesda’s own Todd Howard thinks was perhaps a tad too early), The Elder Scrolls VI will mark the first single-player entry in the fabled Elder Scrolls series of big-ass open-world RPG romps since the undying colossal success that was 2011’s Skyrim. News on the TES6 front has otherwise been very quiet, and Bethesda only just released its other epic, long-in-development RPG, the space-themed Starfield. New reporting from Axios’ Stephen Totilo, however, makes it clear that TES6 will be an Xbox and PC exclusive.
The Elder Scrolls VI targets a 2026 release
PlayStation-owning fans of Bethesda jams have been holding out hope that despite Microsoft’s purchase of Bethesda in 2020, Elder Scrolls VI might still come to a Sony machine. CEO of Microsoft gaming Phil Spencer has said as recently as September 6 that the company considers exclusives on a “case-by-case basis” and that it “wants to make sure that [its] games are available in so many different places.”
As per a post on X (formerly Twitter) from Stephen Totilo of Axios, Microsoft’s communications during the FTC case concerning its controversial Activision merger spelled out that The Elder Scrolls VI is coming to Xbox and PC only. In a Microsoft-confidential chart that saw release due to the legal proceedings, The Elder Scrolls VI clearly has a big ol’ red X in the “Released on PlayStation?” column.
The same chart indicates that The Elder Scrolls VI is aiming for a 2026 or later release date. Given the size and scope of Bethesda games, they do take a long time to make. After The Elder Scrolls VI, Bethesda is expected to release Fallout 5.
So, sorry PlayStation Skyrim fans. But, hey, at least you got a head start on Baldur’s Gate 3. And given TES6’s likely release window, at least you’ll have enough time to save up for an Xbox or gaming-worthy PC? Hey, don’t look at me. I’m just the messenger.
In the months (nay, years) leading up to Starfield’s September 6 release, the hype for the Bethesda RPG grew and grew until it was a heretofore unseen beast, a giant Kaiju of expectation that threatened to take down Sony, upend 2023’s GOTY race, and suck up all of gamers’ precious free time.
Head of Xbox Creator Experience Sarah Bond joined in on the fun, calling Starfield “one of the most important RPGs ever made.” Bethesda head Pete Hines said it took him well over 100 hours to properly start Starfield. All of the hype whipped Xbox fans into a frenzy, and indirectly fueled the flickering flames of the console wars. Starfield’s scope, its potential, even made the then-unreleased game a talking point in the FTC trial regarding Microsoft’s purchase of Activision-Blizzard.
Then, after a few days in what Bethesda dubbed “early access,” available to deep-pocketed players who shelled out big bucks for one of several premium editions, Starfield launched. It is surprisingly not buggy, and jam-packed with side-quests that offer a steady drip of serotonin. But it’s woefully inaccessible, its UI is daunting, and it is, ultimately, just a new Bethesda game. There’s nothing wrong with that, but it’s a stark reminder that hype trains are just marketing tools in a different font. Starfield is a good game, but it is not a groundbreaking one.
Before I got a chance to dive into Starfield, I wondered aloud (and on social media) if the game would occupy a similar space in my life that Skyrim has held on more than one occasion. Skyrim never floored me and never lingered after I powered off my console, unlike Marvel’s Spider-Man’s version of Manhattan, or story beats in Mass Effect 2. But every time I dropped back into Skyrim, I fell into the same satisfying loop, emerging from a lengthy play session a little dazed, uncertain of the time, blinking to reaccustom my eyes to the real world outside of its pixels.
Every time I jumped into Skyrim I’d go off searching for some tucked-away relic or NPC in need of help and end up climbing to the top of a peak I saw in the distance, or scurrying through caves like a little gamer Gollum, furiously lining my pockets with shiny objects. I’d “just one more side-quest” myself into the wee hours of the morning, surreptitiously pulling tokes from a pre-roll resting on the table in front of me. No matter what I did, whether it was becoming a vampire or participating in a drinking competition, I was never blown away or taken aback by what Skyrim unfurled before me—I was, however, hooked.
I’m about 20 hours into Starfield and can safely say it is exactly like Skyrim in space. The steady serotonin drip of overhearing a conversation, marking the quest associated with that conversation on my map, completing it, then going back to the list and selecting the next thing is unparalleled. It is the kind of game that completionists salivate over, the kind that I find myself longing to return to and get lost in during my workday, on the train home, while finishing off a workout.
After progressing the main campaign a bit, I violently veered into side-quest territory, spending nearly four hours straight on the Blade Runner-esque planet Neon. I joined a gang, I helped Starfield’s version of Björk recover her music, I tried to console a grief-stricken widow in the shadow of a fish corpse. I paid for VIP lounge access at a bar, helped squash a squabble over a robot that had been vandalized, and rented a room in a hotel just to say I did. Starfield has hooked me in a way that only Bethesda games can, because it is so thoroughly a Bethesda game with a shinier coat of paint.
Image: Bethesda
Expectation versus reality
There is nothing wrong with Starfield feeling familiar—Bethesda’s formula works, and has for over two decades, so I’m not crucifying Todd Howard for refusing to reinvent the wheel. I am, however, noting that there’s a clear disconnect between calling a game “one of the most important RPGs ever made” and that game then reusing long-existing RPG gameplay mechanics and storytelling techniques throughout.
As Kotaku’s Zack Zweizen points out, Starfield is “still a Bethesda RPG. You can almost feel the ancient bones of Morrowind and Fallout 3 poking through bits of the scenery and menus as you play.” Companions still linger behind NPCs chatting you up, players are still almost always overencumbered, enemies still fall over like action figures when you send a gust of gravity their way that feels almost exactly like Skyrim’s Dragon Shouts.
There’s nothing groundbreaking about Starfield, save for maybe its scope, which is possible largely because of the technological advances that have taken place within the last several years, and are now readily available in consumer-facing products like the Xbox Series X/S and modern PCs.
But as for Starfield bringing new ideas to the genre, or adding anything new to its well-worn formula…it doesn’t. Bethesda has been quietly moving its own role-playing goalposts closer to the more shallow end ever since The Elder Scrolls IV: Oblivion, narrowing the scope of what the player can actually influence, placing you in a world that feels perfectly carved out for you to slot into, its problems cleanly laid out for you to solve. Cian Maher’s quote from an Oblivion piece for TheGamercomes to mind: “I also don’t reckon Skyrim ever managed to carve out a portion of its world and imbue [it] with the necessary narrative significance for a conclusion to not seem like deus ex machina.”
Aside from extensive ship-building mechanics, there aren’t any shiny new gameplay additions in Starfield. Building an outpost is just Fallout base-building, leveling your lockpicking or melee abilities follows similar logic to Skyrim, and there are many eerie similarities to Obsidian’s The Outer Worlds. The most noted difference comes not in an updated role-playing system or deeper NPC interactions, but in gunplay—Starfield improves upon Bethesda’s infamous combat clunkiness, and it’s welcome.
But Starfield feels the same way Fallout 4 did, which felt the same way Skyrim did, and that does not make it “one of the most important RPGs” ever made. It just makes it a good Bethesda game, a game made by a studio that Microsoft spent $7.5 billion to acquire. We’d do well to remember that, both as consumers and critics, going forward.
After 18 years, David Vonderhaar, the studio design director at Treyarch, announced he’s leaving Activision after shipping eight Call of Duty games since 2004.
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Vonderhaar made the announcement on his personal LinkedIn account, where he confirmed he’s moved on to a new project at a different studio but didn’t go into specifics in his post. He also thanked his former coworkers at Treyarch and the Call of Duty fans that have played the studio’s games over the years.
Today I am sharing that I have left Activision and Treyarch after an incredible 18 years and 8 Call of Duty games.
To my co-workers at Treyarch, I am immensely grateful for the time we invested working to improve our craft, never sitting on successes, and always wondering how to improve what we design and how we produce it.
Thank you to the Call of Duty community for your passion and enthusiasm. That energy has often fueled our determination as a studio and individuals. I will always be grateful for the opportunity to interact with so many of you directly online and in person. This energy will always be a massive part of me.
I am staying in the games industry, working on an undisclosed project I can’t discuss yet, but I am excited about a rare and unique opportunity. I’ll update you as soon as possible.
Vonderhaar’s Call of Duty portfolio is synonymous with the Black Ops series, which has been part of the military shooter’s rotating stable of sub-franchises since the first one launched in 2010. The most recent entry was 2020’s Call of Duty: Black Ops Cold War.
Some wonderful maniac is developing an emulator that will one day let people play Zeebo games. And…oh wait, you might be asking “What’s a Zeebo?” Fair question! Well, it’s a fairly obscure digital-only console released outside of the United States in 2009 in just two countries. And while it’s not a great console with a library of beloved classics, it’s still nice to see that someone is working hard to preserve this odd piece of gaming history.
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The Zeebo launched in Brazil in June 2009, and later that year came out in Mexico. (And by 2011 it was all over.) The budget console was basically a phone with a controller that connected to your TV. Games and apps on the Zeebo were built using BREW, the same software that powered many early flip-phone games, though the specs inside the Zeebo were a bit more powerful than your average non-smartphone. Still, it wasn’t a powerhouse of a console, and that was kind of the point: to provide people in parts of the world who might not be able to afford expensive, imported consoles with a way to play video games and surf the web via 3G. It was also digital-only to circumvent piracy, forcing players to buy games through its online store. And now, someone is building a PC-based emulator for this strange, nearly-forgotten machine.
As spotted by GamesRadar, on August 1 developer Tuxality uploaded a video of themselves fiddling around with their made-from-scratch Zeebo emulator. While only a few games will boot in the emulator—and they don’t work very well yet—it’s still impressive to even see this much work being put into a device that most folks haven’t even heard of.
In the video, we see Tuxality boot up Zeebo Family Fun Pack and Crash Bandicoot Nitro Kart 3D. While Family Fun Pack loads up fine, Crash Nitro Kart 3D displays some intense graphical issues. Still, progress is progress. And yes, big publishers and studios including Activision, Capcom, EA, Disney Interactive Studios, and id Software saw their games released on the Zeebo.
Tuxality calls their emulator Infuse, and says it’s a “high-level” Zeebo emulator that’s been written entirely from scratch based on “clean reverse engineering attempts.” The developer also says that Infuse supports macOS and Linux and could (in the future) be easily ported to the Nintendo 3DS as a fully native application.
As for when you’ll be able to play the Zeebo edition of Resident Evil 4, aka the worst way to play that game, Tuxality doesn’t say. It’s likely at least a year or more away from being fully released to the public.
While some might post the very overused Ryan Reynolds “Why?” gif in response to someone making a Zeebo emulator, I’m excited that fan developers and modders out there are continuing to do the work that game companies won’t do to preserve video game history. Yes, even the weird and less-than-great parts of game history need to be preserved. If anything, those are the bits that will disappear first, and that would be even worse than playing Crash Bandicoot on a flip phone console from 2009.
Season 5 of the Call of Duty video game will feature rap queen Nicki Minaj as the first-ever female celebrity Operator playable character, publisher Activision announced on Wednesday.
Several real-life celebrities have appeared in the franchise’s games over the years, including soccer great Lionel Messi and basketball legend Kevin Durant. But the only women to appear as Operators have been fictional ― until Nicki the Ninja united with the brand.
She’ll appear as an Operator in the games Warzone and Modern Warfare II in honor of CoD’s “50 Years of Hip Hop Celebration,” along with hitmakers Snoop Dogg, who has partnered with the brand before, and 21 Savage.
CoD has already warned players in a press release that the “Barbie World” rapper won’t be showing up as “Chill Nicki,” but rather as “Red Ruby Da Sleeze,” a nod to Minaj’s ready-for-war hit track from earlier this year where she promises enemies she’ll “boom your face off.”
Call of Duty’s official Twitter page showed off a teaser image of Minaj’s appearance in the game, sporting pink hair and toting a large neon pink gun.
The game’s developer said in the press release that Minaj will have her own storefront full of goodies in Season 5 of Warzone and Modern Warfare 2, which will likely include the aforementioned Barbie-pink assault rifle.
After word of Minaj’s involvement hit Twitter, fans trickled in to hilariously gush about their excitement.
Minaj’s appearance was teased last year in a promotional video for the game’s preorder, which featured a star-studded mix of artists, athletes and actors, including rapper Lil Baby, comedian Pete Davidson and country singer Kane Brown.
In the promo, Minaj is seen standing in front of a helicopter, in a camo-print skirt and surrounded by women, as she raps: “Pull up with the Barbz/ Superheroes, no capes.”
The trailer sparked debate on Twitter after many fans speculated that Minaj may have only snagged the endorsement deal due to fellow rapper Cardi B dropping the ball on the opportunity, after the former reality star hinted about it in a tweet.
Last September, the “WAP” artist tweeted about having missed out on “a multi-million dollar” deal with the franchise because of legal troubles stemming from an assault case.
The cost of the celebrity skins hasn’t been announced yet, but they’re set to release when the Season 5 update launches on August 2.
On July 24, Call of Duty maker Activision Blizzard filed a lawsuit in California alleging that YouTuber Anthony Fantano, a music critic who runs the immensely popular channel The Needle Drop, is misusing intellectual property law and “leveraging the popularity” of a widespread TikTok voice clip he created for financial gain. The company said that Fantano, widely known as “the internet’s busiest music nerd,” has embarked on a “scheme” to sue certain users of the clip unless they pay him “extortionate amounts of money,” with Activision Blizzard apparently being Fantano’s largest target.
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At the center of the dispute is a widely used voice clip of Fantano saying “it’s enough slices!” The clip originates in a 2021 TikTok that features Fantano reacting to a pizza being cut into increasingly smaller slices. Fantano looks on appreciatively for a while but the slicing just doesn’t stop, prompting him to eventually scream the now-famous line.
The video garnered millions of views and spawned thousands of copycats, leading Activision Blizzard to create their own rendition of the meme in a now-deleted June 2023 TikTok promoting some Crash Bandicoot shoes. Apparently, Fantano wasn’t about it, alleging it created a “false endorsement” of the product without him actually being associated with it. He sent the company a cease-and-desist letter on June 27 demanding that Activision Blizzard stopped using the audio and made a six-figure settlement payment to him. If the company didn’t pay up, he would “initiate litigation.” Interestingly, though, Activision’s lawsuit alleges that Fantano himself opted to put the clip in TikTok’s “Commercial Sounds” library, specifically designating it as usable in advertisements.
“In reliance on TikTok’s explicit representation that the ‘Slices Audio’ was part of its ‘Commercial Sounds’ library— described as ‘sounds that are licensed for commercial use’—Activision paired that video with the ‘Slices Audio,’” the company wrote in the 33-page lawsuit. ‘Notwithstanding that thousands of TikTok videos containing the Slices Audio have been available on TikTok for years without complaint, Fantano suddenly decided that Activision’s video infringed his publicity rights and constituted a false endorsement.”
Activision is effectively arguing that Fantano is trying to game the law for his own gain, with the company’s lawyers writing, “Fantano has embarked on a scheme whereby he selectively threatens to sue certain users of the Slices Audio unless they pay him extortionate amounts of money for their alleged use.”
“This dispute is a textbook example of how intellectual property law can be misused by individuals to leverage unfair cash payments,” Activision’s lawyers wrote. “Fantano was very happy to receive the benefit of the public use of the Slices Video. It was only after he identified a financial opportunity—namely, receiving unjustified settlement payments—that he suddenly decided that his consent was limited. The law does not permit, and the court should not countenance, such overt gamesmanship.”
The company is seeking reimbursement of its legal expenses and a ruling declaring that Fantano cannot sue TikTok users for using the voice clip.
Richard Hoeg, a lawyer who specializes in digital and video game law, told Kotaku in an email that while he hasn’t seen all of the materials in the lawsuit, based on what he knows this far, the company has a decent case here.
“As described by Activision (and remembering theirs is only one side of the story), it would seem they have a good case,” Hoeg said. “The TikTok audio library appears to allow for general commercial use on TikTok, so anyone placing content in the library should be limited in their rights to challenge. That said, there still could be facts we don’t know like whether an unauthorized third party actually effected the sound’s inclusion or even whether it might have been automated.”
Kotaku reached out to Activision Blizzard and Fantano for comment.
I started regularly playing competitive online games in 2007, with the launch of Halo 3. Back then, participating in in-game voice chat was harrowing for a 17-year-old girl whose voice betrayed her gender and her youth. I was subjected to such frequent and horrific hostility (rape threats, misogynistic remarks, sexually inappropriate comments, you name it) that I eventually started screaming back, a behavior my parents still bring up today. And yet, voice chat is essential in competitive online games, especially modern ones like Call of Duty: Warzone, Apex Legends, Fortnite, Valorant, and Overwatch.
All of these popular games require extensive amounts of teamwork to succeed, which is bolstered by being able to chat with your teammates. But in-game voice chat remains a scary, toxic place—especially for women.
Unfortunately, despite efforts from developers to crack down on toxicity in voice and text chat, it still feels, at times, like I’m stuck in the same world as that 17-year-old girl just trying to compete in peace. And I’m not alone in that feeling. I spoke to several women about their voice chat experiences, as well as reps from some of today’s biggest online games, to get a better understanding of the current landscape.
A 17-year-old me playing Halo 3 circa 2007.Photo: Alyssa Mercante / Kotaku
Voice-chatting as a woman
Competitive online games are intense, but doubly so if you’re identifiable as outside the industry’s so-called core playerbase for the last 35 years: white, straight, and male. “Marginalized users, especially women, non-binary people, and trans folks, are more likely to experience harassment in voice and video chats,” game researcher PS Berge told Kotaku’s Ashley Bardhan last year.
The moment a woman or woman-presenting person speaks in voice chat, they run the risk of being identified as an “other” and thus deserving of ridicule, ire, or sexual harassment. For many, that fear of being othered and how it could (and often does) lead to harassment directly affects their willingness to speak in competitive game settings.
“I usually wait for someone else to speak first so I know what the vibe will be,” video game level designer Nat Clayton, who regularly plays Apex Legends, told Kotaku via email. “Though I feel more comfortable chatting in Apex than I do going back to older PC games like Team Fortress 2 or Counter-Strike—games where the expectation of bigotry seems absolutely set in stone, where you feel like you cannot turn on voice chat without immediately experiencing a flood of slurs.” Both Team Fortress 2 and Counter-Strike came out in the early 2000s and still attract an older, male-leaning playerbase, many of whom can be hostile to women.
This problem has been long-standing, but companies are doing more to dissuade people from being toxic or abusive in in-game voice and text chat now than they were 10 years ago—though it often doesn’t feel like it.
Microsoft recently announced a new voice reporting feature that will let players save and submit a clip of someone violating the Xbox Community Standards, which a team will then review to determine the next course of action. “Reactive voice reporting on Xbox is designed to be quick and easy to use with minimal impact to gameplay,” reads the press release announcing the new feature. This means that Xbox players can report toxic voice chat no matter what game they’re playing, which adds another layer of protection on top of the ones set up by individual developers.
Those protections include ones laid out In the uber-popular battle royale game Fortnite. If a player is found in violation of Epic’s community rules (which have guidelines against hate speech, inappropriate content, harassment, and discrimination), they could lose access to in-game voice chat—a newer approach to punishment that the company introduced in 2022—or have their account permanently banned. Epic wouldn’t share specific numbers on bans, but did tell Kotaku that its team is “planning to introduce a new feature for voice chat soon.”
But Fortnite “[relies] on player reports to address violations of our voice and text chats,” which places the onus squarely on those who are on the receiving end of such violations. And for games that don’t record or store voice and text chat, reports can feel especially useless. When asked if she has reported people in Apex Legends, Clatyon replied, “Many, and often, but unfortunately the current Apex reporting system doesn’t monitor/record voice interactions and so doesn’t take action based on voice chat.”
Image: Microsoft
New ways games are combatting toxicity
Companies don’t always rely on players, though. Activision, Blizzard, and Riot Games all use a mix of automation and human moderation for multiplayer modes in Call of Duty, Overwatch 2,and Valorant.
As detailed in an official Call of Duty blog post from last year, an automated filtering system flags inappropriate gamertags, while human moderation of text chat helps identify bad actors. The aforementioned post (which is from September 13, 2022) boasts 500,000 accounts banned and 300,000 renamed thanks to enforcement and anti-toxicity teams. We don’t have more recent data from the Call of Duty publisher.
After the launch of Overwatch 2, Blizzard announced its Defense Matrix Initiative which includes a “machine-learning algorithms to transcribe and identify disruptive voice chat in-game.” Though Blizzard did say what it considers “disruptive voice chat” or what the algorithms entail, the company did say the team is “happy with the results of this new tech” and has plans to deploy it to more regions and in more languages.
But women still often find themselves deploying strategies to deal with the toxicity that isn’t caught by these systems. Anna, a UI/UX researcher who regularly plays competitive games like Overwatch 2 and CS:GO, told Kotaku over email that she also waits to see what the vibe of the chat is before diving in. She’s “more inclined to speak up if I hear another woman too because there’s potentially more safety in numbers then,” she explained. Others, myself included, play solely with friends or offer to group up with women they meet in matches to avoid encountering agitated players.
Toxicity persists, which is likely why companies continue to try new methods and approaches. When Kotaku reached out to Riot Games for details on its efforts combating disruptive behavior and toxicity in Valorant, executive producer Anna Donlon said via email that:
In addition to the player reporting tools, automatic detection system, and our Muted Words List, we’re currently beta testing our voice moderation system in North America, enabling Riot to record and evaluate in-game voice comms. Riot’s fully-dedicated Central Player Dynamics team is leveraging brand new moderation technology, training multi-language models to collect and record evidence-based violations of our behavioral policies.
While companies struggle to find a solution to an admittedly complicated problem, some women have been discouraged from trying altogether. Felicia, a PhD candidate at the University of Montana and full-time content creator, told Kotaku that she used to say hello at the start of every game (she mainly plays Fortnite and Apex Legends) but that willingness eventually “turned into waiting to speak, then not speaking at all.” The shift came as a direct result of her experience using Overwatch’s in-game voice chat function. “It got so bad I’d only talk in Xbox parties,” she said of the feature which allows you to group up and voice chat with friends.
Jessica Wells, group editor at Network N Media, speaks up in her CS:GO matches despite the threat of toxicity. “I say hello, give information, and see how it goes. If my team is toxic to me, I’ll either mute individuals or mute all using the command,” she said via email. “I used to fight it—and I mean really fight the toxicity online—but I find toxicity breeds more toxicity and the game goes to shit as a result.”
Image: Blizzard
Toxicity persists and worsens in highly competitive games
If you’ve played ranked matches in games like Overwatch or Valorant, you’ve experienced this direct correlation: Verbal harassment increases when competition levels increase. And no one experiences this phenomenon more acutely than women.
Alice, a former Grandmaster Overwatch1 player, told Kotaku over email that her experience with the original game “changed how [she] interacted with online multiplayer.” She was ranked higher than her friends, so would have to queue for competitive matches alone, and said she’d get “the usual ‘go make me a sandwich’” remarks or requests to “let your boyfriend back on” in more than half of her games.
Overwatch is a curious case when it comes to harassment and toxicity. Despite a cartoonish visual design that suggests a more approachable game and a diverse cast of characters, competition is at the heart of the team shooter’s identity. Over time, patches and updates have focused on balancing competitive play, and its popular esports league encourages highly competitive gameplay. Overwatch players who regularly watch Overwatch League may be more prone to “backseating” (telling other players what to do) or be more judgmental of the way people play certain characters. And the more extreme ire is often directed towards women—especially those who play support or the few playing Overwatch at a professional level.
“Sometimes someone else on the team would stick up for me, but most of the time the other players would stay silent or join in.” Alice’s experience may not be surprising when you consider the one study that tracked over 20,000 players and found that men played more aggressively when their opponents or their characters were women. “Through our research, we found that women did perform better when they actively concealed their gender identities in online video games,” the study said.
Me, likely playing Call of Duty: Black Ops or Modern Warfare III circa 2011.Photo: Alyssa Mercante / Kotaku
Because of her consistently negative experiences in Overwatch voice chat, Alice plays Valorant now—just not ranked. She chooses not to play at a higher level because competitive Valorant (which also has its own, uber popular esports league) is a cesspool of toxic masculinity.
Anna, who regularly plays Riot Games’ 5v5 hero shooter, told Kotaku over email that she’s “encountered increasing amounts of toxicity in Valorant…which can include anything from sexual assault threats, threats of general violence or death threats, to social media stalking.” Male players have told her to “get on [her] knees and beg for gun drops, and proceed to use their character to teabag or simulate a blowjob.”
Anna says she changed her Riot ID to a “common household object” to try and prevent harassment from male players.
Stacy, a full-time streamer, told Kotaku via email that the harassment has bled into the real world, too. “Threats of DDOS, stalking, assault, murder and other crimes – a lot of which ended up on my live stream…I’ve had people ask me for my personal connections and accounts like Snapchat…as well as my phone number, and have even had people use my PSN account name to find me on social media like Instagram for non-gaming related reasons. [They even found] my email address to try to either harass me, send me unsolicited photos or attempt to bully and berate me beyond the console.”
The future of competitive games for women
It’s clear that even with automated moderation systems, extensive reporting options, and loud declarations against toxicity from publishers and developers, women who play competitive online shooters still regularly experience harassment.
“I have reported people in the past and it was an easy report button but with all the toxicity I encountered it made it feel like reporting them wouldn’t make a difference,” Felicia said. “I stopped reporting for the most part unless they come into my stream or in my comment section being toxic.”
Overwatch has a feature that will show you a pop-up upon login if the team has taken action against someone you’ve reported, but many players rarely (if ever) see that login. I’ve only ever seen it once.
Jessica finds that reporting players in CS:GO is virtually useless. “I can’t think of a single case where it felt like Valve directly took action,” she said.
Image: Alpha Intel / Respawn
The same can be said for Valorant, which has a similar reporting feature as Overwatch. “I think I’ve only seen [the report was actioned on] screen three or four times since it was implemented,” Anna said.
And though the process of reporting is simple, it requires women to retread traumatic territory. “With the particularly nasty people, it always feels gross having to recount the words someone used to explain how they’d like to assault me, or typing (partly censored) slurs that I’d never dream of using myself, but it feels like if my report is not water-tight, it won’t get dealt with,” said Anna.
Unfortunately, eliminating toxic game chat, like so many other problematic things in the gaming industry, requires changing the perspectives of people perpetuating the problem. We need a holistic approach, not one that’s centered solely on automated monitoring or the reports of victims.
“I think more than anything it is a cultural problem,” said Alice. “FPS games are ‘for boys’ and until we change that perception, I think people will continue to be rude in them, especially when there are minimal consequences.”
Game studios can and should center more women and marginalized creators, players, and developers in marketing materials, streams, and esports events—and they should make it explicitly clear that a toxic culture has no place in their games. Instead of shying away from providing details on banned or otherwise penalized players as a result of toxic behavior, studios should wear them like a badge of honor, presenting them proudly as a way of saying “you have no place here.”
FPS games like Splatoon 3 are a great example of how competitive games can be less toxic. Nintendo’s ink-based shooter has minimal communication tools and a diverse character creator that allows for some more gender fluidity, allowing it to feel less like a “boys game.” The perceived casual nature of a Switch player stands in stark contrast to the console warriors and PC try-hards, which begs the question: Can competitive games exist without toxicity?
Nat Clayton has some suggestions: “You need to visibly and publicly create a culture where this kind of behavior isn’t tolerated, to make your community aware that being a hateful wee shit to other players has consequences.”
Update 07/24/23 at 12:00 p.m. EST: The original story included a Jessica Wells quote about Overwatch, but Wells was referring to CS:GO’s reporting system, which is calledOverwatch. The quote has been adjusted to reflect that.
The Xbox app has a section called “popular with friends” that shows you the games your buddies are playing. It can be a handy little tool for bothering your friends about their progress in Diablo IV or needling them over their refusal to stop playing Overwatch 2 (it’s me, I’m that friend).
But based on a picture shared on Reddit, it looks like at least one person has early access to Starfield: Phil Spencer. The screenshot shared shows Spencer’s Xbox profile picture, an Xbox Avatar version of him (notice he’s also wearing a t-shirt and jeans, so it’s lore-accurate) against a purple background, underneath both Starfield and Exoprimal, a dinosaur shooter from Capcom that came to Xbox Game Pass on July 14.
While Spencer playing Exoprimal checks out as the game just launched, his apparent access to Starfield is interesting. It makes sense, though—Spencer and Todd Howard have worked closely together to promote the upcoming Bethesda RPG ever since Microsoft bought Bethesda’s parent company ZeniMax in 2021. At Summer Game Fest, they sat down for a press presentation alongside the head of Xbox Game Studios, Matt Booty, and head of Xbox’s gaming ecosystem, Sarah Bond. If you’re the head of Xbox, you can have a little Starfield early access as a treat.
Based on the Reddit post, it seems like Spencer was playing Starfield on July 14, the day the news dropped that the FTC failed to pause Microsoft’s $69 million purchase of Activision. Maybe he was celebrating the lengthy battle by hopping from planet to planet in Starfield, his mind finally free from fretting over whether Microsoft would get another jewel in its gaming Infinity Gauntlet or not. In space, no one can hear you gloat.
A federal appeals court late Friday denied the Federal Trade Commission’s bid to temporarily block Microsoft Corp.’s MSFT, +0.75%
$68.7 billion acquisition of videogame publisher Activision Blizzard Inc. ATVI, +0.59%,
clearing the path for the biggest gaming deal in the U.S. The 9th Circuit U.S. Court of Appeals ruling means only U.K. regulators can stop the closing of the deal before a July 18 deadline. On Tuesday, a federal judge in San Francisco ruled against the FTC, which sued to block the deal in December, prompting the FTC’s appeal on Wednesday. “We appreciate the Ninth Circuit’s swift response denying the FTC’s motion to further delay the deal. This brings us another step closer to the finish line in this marathon of global regulatory reviews,” Microsoft President Brad Smith said in a statement. The FTC was not immediately available for comment.
The U.S. Federal Trade Commission’s defeat as it sought to block Microsoft Corp.’s acquisition of videogame maker Activision Blizzard is yet another setback for an increasingly toothless regulator that needs to pick better battles with Big Tech.
“With these 10-year contracts that Microsoft made across the board with so many vendors, Nvidia NVDA, +0.53%,
Nintendo and others, 10 years is a really long time, in my opinion,” said Sarah Hindlian-Bowler, an analyst at Macquarie Equity Research, in an interview Tuesday. “It is long enough to cover the arrival and maturity of the cloud gaming market….She understands that 10 years is a very long long time to make a guarantee of this kind.”
Hindlian-Bowler said that she had been in the minority of Wall Street analysts in not believing the U.S. government would be able to block this deal.
“The assumption that this somehow decreases the market is going to prove to be wildly incorrect,” she said, adding that she does not believe that the U.K.’s Competition and Markets Authority will be able to block the deal either.
The latest upset at the FTC was also not too surprising to other Capitol Hill watchers, especially in the light of other high-profile setbacks by the agency and its once-heralded commissioner, Lina Khan. When she was sworn in as chair of the FTC in mid-2021, Khan was hailed as the sheriff who would rein in Big Tech.
“It’s hard to say I am surprised by the ruling because Khan has had a fairly unsuccessful track record,” said Owen Tedford, a senior research analyst at Beacon Policy Advisors. “The regulators are pushing the boundaries, deals that previously would have gone unchallenged have now gone challenged. And they are breaking precedent because Khan and company have expressed a dislike of settlements.”
“I think that the FTC is in need of some change, in need of some refreshing and in need of doing a much better job of picking their battles,” said Hindlian-Bowler. “This does feel toothless, a lot of the fights they are picking are toothless. And unfortunately, they are missing the real battle. They are missing TikTok, they are missing the real fights where we actually have national security at risk.”
In February, one of the Republican commissioners on the FTC resigned, and wrote an op-ed in the Wall Street Journal accusing Khan of disregarding the rule of law and due process.
Compared to the European Union, which has had far more success implementing regulation to rein in Big Tech, the U.S. is still much weaker. “The EU seems to be having somewhat more success, levying big fines, getting these companies to change,” said Beacon’s Tedford. “The EU has passed these bills, but the U.S., despite these efforts, has not gotten there and is not going to get there for the next two years.”
Money spent by Big Tech to lobby Congress in a huge part of the problem, whereas in Europe, “those lawmakers feel less beholden,” he added.
More than a century ago, President Teddy Roosevelt, known for his “speak softly and carry a big stick” foreign policy, also used his bully pulpit to bust industrial monopolies.
If Khan and her staff want to follow his lead and rein in Big Tech, they need to start picking their future battles more carefully — and carry bigger sticks.
It’s official: Warzone Caldera, formerly known as the original Call of Duty: Warzone, is shutting down later this year so developers can focus on the battle royale’s sequel and players are angry. The announcement came in a Call of Duty blog post titled “An update on Call of Duty: Warzone Caldera” published on June 22.
“As of September 21, 2023, Call of Duty: Warzone Caldera will shut down, as our teams focus on future Call of Duty content including the current Warzone free-to-play experience,” the blog post reads. Warzone 2.0 launched in November 2022 as a completely separate experience from the original Warzone, which was tied to Call of Duty: Modern Warfare and could only be played within that mainline game and launched back in March 2020.
For fans of the original battle royale reluctant to move over to Warzone 2.0 (which was tied to Modern Warfare II and offered a brand-new map, new modes, new gameplay, and major UI changes, though it had its own separate launcher), Activision offered them Caldera, where the original Warzone experienceand all its cosmetics would remain. Until now.
Conspiracy theories were swirling back in March of this year that suggested cheaters were being paid to keep people from playing Warzone 1 after streamers and other esports pros refused to make the swap over to the 2.0. And though the claims were unsubstantiated, there was a noticeable delay in players warming to the sequel. Now, however, after many changes and updates, Warzone 2.0 has a healthy player base—though there are still those who play and prefer the original.
But the announcement that Warzone Caldera will officially die this fall was met with some rather passionate responses from fans, as the responses to the tweet from the official Call of Duty account show. Several people pointed out that Blackout, a battle royale mode introduced in 2018’s Black Ops 4 and beloved by many, still has operating servers, but the original Warzone will not. Others pointed to all the cosmetics they purchased, while others were angry that the blog posts mentions work on Warzone: Mobile.
I myself haven’t gotten into Warzone 2.0 at all despite being a pretty die-hard original Warzone fan—and I haven’t really been playing Caldera either, as I miss the first battle royale map Verdansk too much. But considering I spent an ungodly amount of time and money getting some really sick skins for my Operators, I am very annoyed that all of them will go bye-bye. I had an ‘80s workout skin, a ‘90s grunge skin, a Ripley from Aliens-inspired skin, and even some footy uniforms.
Though I won’t be able to play with those skins in a battle royale ever again, the Call of Duty blog does note that “regarding purchased content in Warzone Caldera–from Modern Warfare,Black Ops Cold War, or Vanguard–that will continue to be accessible in those specific games.”
I suppose this was always bound to happen, and maybe this is a sign that I should give Warzone 2.0 a proper chance. But it’s an important reminder that live service games can appear, rise to prominence, and fade out in the blink of an eye.
Activision has pulled a Call of Duty skin based on the hugely-popular Nickmercs after he made an anti-LGBTQ comment on Twitter.
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Earlier this week broadcaster Chris Puckett tweeted about a local clash between “Pro-LGBT protestors” and bigots near his apartment, to which Nickmercs—referencing a popular rallying cry of the increasingly unhinged right wing media machine, which baselessly asserts that trans people and drag performers are somehow child abusers—replied “They should leave little children alone”.
Nickmercs was swiftly condemned. As this Dexerto roundup summarises, he was rightly rounded on by many notable members of the Call of Duty and wider esports community, including broadcaster Goldenboy, who said “I’m disappointed in you Nick. Teaching acceptance and tolerance for EVERYONE is a valuable life skill for all ages.”
Loopy, a coach at Vexed Gaming, had even stronger words, saying:
I will never work/watch a MFAM event again. I cannot in good conscience work for a bigot. I am a Marine and swore to uphold and protect the constitution which protects protests and demands equality for all.
“Peace and love” unless you’re gay or trans? What a loser.
Due to recent events, we have removed the “NICKMERCS Operator” bundle from the Modern Warfare II and Warzone store. We are focused on celebrating PRIDE with our employees and our community.
If you were wondering if Nickmercs ever apologised for his comment, that process went about as apologetically as you would expect:
The UK’s Competition and Markets Authority (CMA) announced its decision to block Micorosft’s $69 billion acquisition of Activision Blizzard on Wednesday citing concerns it would hurt competition in the growing cloud gaming market where Microsoft dominates thanks to Game Pass. It’s a shocking turn of events for what seemed like a mega merger that was otherwise cruising toward regulatory approval.
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“We have concluded that the merger would result in the most powerful operator in the fast-developing market for cloud gaming, with a current market share of 60-70%, acquiring a portfolio of world-leading games with the incentive to withhold those games from competitors and substantially weaken competition in this important growing market,” the CMA wrote in its final report. Both Microsoft and Activision Blizzard said they will appeal the decision.
One seemingly likely result of Microsoft buying Activision Blizzard would be that the latter’s hit games likeOverwatch 2, Diablo IV, and Call of Duty: Modern Warfare II would all get added to Game Pass. The CMA argues this would give Microsoft, already the market leader in cloud gaming, even more anti-competitive control. It also suggests that the company would then have an incentive to raise prices on cloud gaming subscription services like Game Pass, while potentially withholding certain releases from some rival platforms like Sony’s PlayStation Plus.
Microsoft tried to assuage these concerns in recent months by signing tons of deals with smaller cloud computing providers in the UK, promising to make Activision Blizzard’s games available through them alongside its own xCloud service. The CMA seemed unswayed by these overtures, however, calling Microsoft’s proposed remedies too limited in scope, implying they would leave out competing services like Sony’s and that enforcing the agreements would require too much ongoing regulatory oversight.
“We have already signed contracts to make Activision Blizzard’s popular games available on 150 million more devices, and we remain committed to reinforcing these agreements through regulatory remedies,” Brad Smith, Vice Chair and President at Microsoft, said in a statement. “We’re especially disappointed that after lengthy deliberations, this decision appears to reflect a flawed understanding of this market and the way the relevant cloud technology actually works.”
Activision’s response to the news was more harsh. “The CMA’s report contradicts the ambitions of the UK to become an attractive country to build technology businesses,” a spokesperson wrote in a statement. “We will work aggressively with Microsoft to reverse this on appeal. The report’s conclusions are a disservice to UK citizens, who face increasingly dire economic prospects. We will reassess our growth plans for the UK. Global innovators large and small will take note that— despite all its rhetoric—the UK is clearly closed for business.”
That language echoed Activision CEO Bobby Kotick’s previous claims that the UK would become “death valley” if it torpedoed the deal, which promises huge financial windfalls for him and other executives at the company. The merger is still being investigated by authorities in the European Union, who are expected to announce a decision in May, and the Federal Trade Commission is currently threatening the acquisition with an antitrust lawsuit. It’s unclear how the CMA’s initial surprise ruling could affect approval in the U.S. and EU as a result, since failure in any one of the regions could likely doom it.
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Which might explain why earlier today Kotick sent out an email to his entire company—and then posted it on the internet for the whole world to see—which does little but bang his head against the wall repeating the same arguments Microsoft, Activision (and now select US politicians) have been making for months: that the deal is fine, that everything is cool, that Microsoft has made “thoughtful, generous remedies to address regulators’ concerns”.
One thing stands out in this email, though, and it’s a section where Kotick has to juggle maintaining a business relationship with Sony while also wanting to throw them under the bus. Let’s see how he fared (emphasis mine):
The good news is, regulators who initially had concerns about console competition are starting to better understand our industry. The data and evidence Microsoft has been presenting are tilting the scale. You may have seen statements from Sony, including an argument that if this deal goes through, Microsoft could release deliberately “buggy” versions of our games on PlayStation. We all know our passionate players would be the first to hold Microsoft accountable for keeping its promises of content and quality parity. And, all of us who work so hard to deliver the best games in our industry care too deeply about our players to ever launch sub-par versions of our games. Sony has even admitted that they aren’t actually concerned about a Call of Duty agreement—they would just like to prevent our merger from happening. This is obviously disappointing behavior from a partner for almost thirty years, but we will not allow Sony’s behavior to affect our long term relationship. PlayStation players know we will continue to deliver the best games possible on Sony platforms as we have since the launch of PlayStation.
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In other words, “it’s not me, it’s you”. I don’t see any other way he could have put this, to be honest, but then this kind of tiptoeing is exactly why this proposed deal has been so important to the future of the console business: so many grenades have been lobbed by both sides that there’s going to be bad blood here for years regardless of the decision.
Since its release in November 2022, Call of Duty: Warzone 2.0 has undergone immense scrutiny from the community due to its rocky launch. Warzone 2.0 dropped with numerous missing features that undid a lot of the goodwill garnered during the first game’s lifecycle, and while it still has a long way to go, it’s headed in the right direction, thanks in part to the recently released Ashika Island map.
This small-scale Resurgence map doesn’t fix all of the game’s issues, but it certainly brought me—and many other lapsed fans—back to the battle royale, thanks to its more focused, faster-paced experience. There are many reasons the map works so well, but it mainly comes down to its design, along with the Resurgence mode featured on it, which makes the most of its smaller scale and tighter spaces by removing a lot of the downtime typically present on larger maps. This makes each match feel balanced and digestible, especially when compared to Al Mazrah, the main Warzone 2.0 battle royale map.
Al Mazrah is fine. It’s not horrible, but it has a litany of problems that are exacerbated by some of the flawed gameplay design choices—like lots of open spaces in between POIs that leave players wide open for attacks while rotating. Likewise, the map itself feels too big for the limited 150-player count, which leads to far too much downtime. When combined with the game’s slow movement, this practically guarantees you’ll go several minutes at a time without any enemy engagements.
Ashika Island, on the other hand, offers way more cover between POIs—whether in the form of small buildings, rocky terrain, or objects to hide behind. It encourages movement and pushes matches closer to the fast pacing the series is known for. There’s never a dull moment on Ashika Island since its player count is just right for the map size, which keeps engagements flowing at a consistent rate.
Ashika Island’s impeccable design
Image: Activision
Speaking of POIs, each main hub on Ashika Island is a blast, from the condensed Residential area, to the multistoried Tsuki Castle, and even the close-quarters Oganikku Farms. Activision and High Moon Studios did an incredible job of creating POIs that are all fun to explore and battle it out against enemies in, without feeling repetitive. Ashika Island has something for everyone, whether you’re someone who prefers to take it slowly, or an expert player who likes to finesse and use the environment to your advantage.
The underground area full of water is also a nice touch, giving players another way to rotate away from potential hot zones. Those who are less experienced can just hang out in the underground area, which is usually not well-trafficked. This gives newcomers a chance to get their bearings and survive, even against more experienced players.
Likewise, Ashika Island doesn’t have choke points or overly advantageous positions like other maps. One of the biggest issues with the original Warzone is that certain spots like Prison from Rebirth Island and Peak on Caldera were right in the middle of the map and gave players a distinct height advantage. So, other POIs felt less desirable to take over, especially since they were often on the outskirts of the map. That’s why Ashika Island works so well: there’s no obvious power position that works better than others. Sure, certain POIs are slightly more ideal depending on the zone movement and your play style, but overall, Ashika Island’s layout is well-balanced.
One of the best areas is the set of apartment buildings to the southeast of Oganikku Farms. There are two tall buildings here, each comprised of several floors, all of which can be reached from the opposite building across. This gives players multiple access points, rewarding those who like to outsmart their opponents. One of my favorite gameplay moments involved flying a helicopter toward a team, using it to distract the enemy players, and then jumping out before taking out multiple foes in one fluid motion. Outmaneuvering an opponent is Warzone at its best, and it’s all thanks to Ashika Island’s fantastic design.
Back in the action, soldier
Screenshot: Activision / Joseph Yaden
Beyond the map’s design itself, I cannot praise the Resurgence mode enough. By default, battle royales on traditional large maps can be tough to get into since it often takes upwards of 30 minutes to finish a match. You typically spend more time looting and preparing for battle than you do actually fighting against other players, which gets old after a while.
But Resurgence throws that out the window; instead taking place on a smaller map with a max of 52 players (as opposed to around 150 on Al Mazrah). More importantly, it allows players to continuously respawn as long as at least one teammate remains alive, offering plenty of chances to get back into the action.
What this means is that you’re not penalized as much for playing aggressively, resulting in hard-hitting and fun matches that are easy to pick up and play—even if you’re getting your ass kicked. It’s easy to get caught in the “one more match” loop when Resurgence games last between 12 and 15 minutes, and it’s less likely that you’ll give up in frustration when you know you can drop in, get in a firefight, and get back in faster than you can find a weapon in the traditional battle royale. While Warzone’s gameplay itself still needs a little work—like implementing a slower time to kill, and faster animations across the board—getting back into the action so quickly almost makes up for some of its fundamental gameplay flaws.
Ashika Island’s excellent design, along with the faster-paced, less punishing Resurgence gameplay, equates to an immensely fun experience that feels much more like Call of Duty than the traditional BR mode. It’s swift and intense, with plenty of variation that keeps me interested for lengthy game sessions broken up into short bursts. It gets to the point faster and is ideal for players who don’t have hours upon hours to devote, offering the same thrills as a typical battle royale but in a fraction of the time. Sure, Warzone 2.0 has plenty of room for improvement, but Ashika Island makes me confident the game will eventually reach the highs of its predecessor.
