The first project out of Haven Studios is Fairgame$, and it looks like it packs plenty of neon-tinged, anarchist multiplayer action. Fairgame$ is an online, competitive heist game about classism and rebelling against billionaires, and it's heading to PlayStation 5 and PC. There's no release date at the moment. 

Haven is the new studio headed up by veteran producer Jade Raymond, who's best known for her work on the Assassin's Creed franchise in the early aughts.

The reveal video for Fairgame$ shows a trio of young adults in stylish accessories blasting, sliding and shooting their way past high-tech security systems and corporate agents. On the PlayStation Blog, creative director Mathieu Leduc describes the game as "a thrilling competitive heist game where you join an underground movement to rob the ultra-rich and rebalance the scales.... Trespass inside forbidden locations around the world, fill your pockets like a kid in a candy store and unravel the nefarious plans of untouchable billionaires."

Fairgame$ is a PvP experience with emergent sandbox gameplay, according to Leduc.

Raymond spent nearly a decade at Ubisoft as an executive producer and managing director on the Assassin's Creed, Far Cry and Watch Dogs franchises. She joined Google in early 2019 as the head of game development for Stadia, the company's new cloud gaming platform. Stadia was a short-lived experiment for Google, and Raymond left in February 2021 amid a broader shutdown of the service. She opened Haven just a month later and announced her team was building a PlayStation-exclusive original IP, and Sony purchased the studio outright in 2022.

Project Tailwind is Google's latest foray into AI and it's aimed at helping students organize their notes. Google describes it as "your AI-first notebook," and the toolset is able to distill information from a personal notebook, making it all searchable, suggesting questions and main themes, and otherwise organizing the subject matter in an interactive way. Project Tailwind is an experiment at the moment and it's available only in the US — the waitlist to try it out is accessible via Google.

Google revealed Project Tailwind during today's I/O developer conference, showing off a few minutes of the program in action. After selecting a subject — computer science history — and pulling up a few pages of notes in paragraph form, the developer had Project Tailwind summarize the content, generate a glossary for one of the subjects, and offer a quiz on the information, among other actions.

This is a developing story. Please check back for updates.

Follow all of the news from Google I/O 2023 right here.

Redfall is not fit for public consumption. It may not give you salmonella, but Arkane Austin’s vampire-infused world is unpolished, underpopulated and littered with glitches. From the jump, there are signs the game would’ve benefited from another delay before launch day. That’s not to say Redfall is a bad game filled with terrible ideas, but in its current form, it’s difficult to see the brilliance among the bugs.

Redfall is an open-world first-person loot shooter in the vein of Borderlands, but with a bunch of vampires and cultists instead of bandits, and set in a picturesque fictional town off the coast of Massachusetts rather than an arid wasteland. It has four playable characters, each with a magical skill set powered by pesky local pharmaceutical experiments.

Arkane Austin

The characters represent a bright spot in the game, so let’s start with the good stuff. I primarily played as Layla, a student whose special abilities include a glowing purple umbrella that soaks up bullets and a psychic elevator that propels friends and foes into the sky. Her final ability summons her former boyfriend, a ghostly vampire who shows up to pull focus and deal damage (typical ex behavior). I also spent some time with Remi, a support-class character with an adorable robot dog. Each character has a skill tree with a few dozen upgrade slots, plus a backpack that can be stuffed full of firearms, and three guns equipped at any time.

Running in Redfall is incredibly satisfying, and this is crucial, considering a large portion of the game is spent exploring neighborhoods on foot. The run mechanic feels like gliding, providing a significant and immediate speed boost that never feels too slow.

The actual town of Redfall is charming. The campaign is spread across two maps, a suburban center and a historic district, each with a distinct vibe. While this is definitely not Prey or Dishonored, Arkane’s DNA runs through Redfall, and the map contains a variety of locales sprinkled with world-building lore – abandoned churches and homes, lootable shops, spooky mansions, hiking trails, farmland, an amusement park.

Missions are structured to slowly reveal new areas of the map, and along the way there are safe houses to unlock, side stories to uncover and special vampires to vanquish. A highlight is clearing vampire nests, which teleport you to twisted versions of the town, providing a welcome break from the idyllic landscapes. All told, Redfall is a neat place to explore. I just wish it didn’t feel so empty.

Here’s where things start to fall apart. Redfall’s entire world feels dead, and not in the on-brand, reanimated corpse type of way. There are long stretches of road and entire neighborhoods without enemies or points of interest, and groups of cultists and vampires are often incredibly easy to spot. Combine this with shockingly dumb enemy AI and an oppressive amount of aim assist, and most basic encounters end after a smattering of bullets and little tension. There are always plenty of shinies to collect, at least.

Arkane Austin

I played on an Xbox Series S and PC, and experienced numerous bugs and crashes, particularly on the Xbox version. The game is limited to 30 fps at launch on both Series S and X, and suffers immensely because of it, with heavy-handed motion blur barely smoothing out the judders. Playing with a gamepad on Xbox is especially jarring – hefty aim assist mixes with a significant dead zone to create an unpleasant, weirdly imprecise shooting experience. I was able to tweak things to make it bearable, but basic gunplay in Redfall feels bad.

And then there are the bugs. Prompts to talk to people or read notes often fail; environments pop in with half-loaded textures; framerate drops result in stop-motion animations; sniper rifle scopes break completely; the game fully crashes. In 15 hours with Redfall, my game crashed three times. Arkane says it’s addressing a handful of known crash areas with the game’s day 0 patch, so hopefully these are cleared up for prime time.

While you can technically play Redfall solo, the game was clearly designed to be played with a team. Characters’ abilities dovetail cleanly, and wandering the town is way more fun with a teammate. Once I started playing with a friend, the game made more sense, with strategy talk and shared curiosity filling those long, empty stretches of road, adding intrigue to easy shots. However, co-op also introduced fresh glitches, including floating character models and choppy collision physics.

As a feature-complete AAA experience with a price tag of $70, Redfall is a massive disappointment. However, that’s not how most people are going to play – Arkane is a subsidiary of Xbox Game Studios, and Redfall will be available to Game Pass subscribers on PC and console, day-one and at no extra charge. The barrier to entering Redfall is low and this might be its saving grace, allowing developers to continually update the game while thousands of playtesters provide live feedback. Hell, that might even be the plan.

Right now, Redfall makes sense as an early access game. It’s a mess, but it’s still largely playable; Redfall’s core loop is actually thrilling when all the mechanics line up correctly, but the details need attention. The early access process is a crucial tool for developers, especially when it comes to online experiences, and there are pipelines for works in progress on every major platform, including Xbox. Redfall feels like a work-in-progress.

But in reality, Arkane and Xbox aren’t pitching Redfall as an early access game. They’re calling it a finished product and they’re charging $70 – or at least one month of Game Pass, set to automatically renew – for the privilege of playing its glitchy, imprecise missions.

It’s all reminiscent of Sea of Thieves, the original “day one on Game Pass” title. When it came out in 2018, Sea of Thieves was roundly criticized for feeling unfinished, lacking direction and being light on actual content. With years of updates and a consistent presence on Game Pass, Sea of Thieves stabilized, nurtured its player base, and eventually picked up a BAFTA award in the evolving game category in 2021. Its ninth season rolled out in March.

Arkane Austin

Redfall could easily follow a similar path. The game has good bones, and it could evolve into an engaging co-op shooter with plenty of room for replayability and expansions – Left 4 Dead for the Twilight generation; Borderlands meets What We Do in the Shadows; small-scale Destiny with a Stranger Things typeface. There’s room for Redfall, but only if Microsoft gives Arkane the runway to save it.

Redfall is less ambitious than Sea of Thieves, and it really shouldn’t be in this poor shape: Arkane Austin has plenty of experience crafting AAA first-person shooters, and Redfall is a traditional loot shooter with online play. Nothing in this game falls outside of Arkane’s or Xbox’s capabilities, and personally, I’m interested to see how it shapes up over time.

That doesn’t make Redfall’s launch state feel any less shady. If Xbox plans to use Game Pass as an early access hub, then the terms need to be clear. Players deserve to know when they’re spending $70 on potential, and potential alone.

Deconstructeam creates games that feel like a new kind of noir, each one draped in pixelated shadows and filled with philosophical innuendo, short and slow-burning. The studio is known for Gods Will Be Watching and The Red Strings Club, two narrative titles that play with concepts of morality and manipulation in harsh futuristic environments. These games ask players to dictate the fates of friends, lovers and enemies, and then they provide languid scenes of rumination as the violence and betrayal unfolds. Deconstructeam’s latest project, The Cosmic Wheel Sisterhood, elevates these concepts to a grander plane.

The Cosmic Wheel Sisterhood begins with a witch who lives on an asteroid. Her name is Fortuna, and she was exiled from her coven after her prediction of doom angered the witch in charge; the game begins on year 200 of Fortuna’s 1,000-year sentence. Fed up and lonely, she summons an ancient Behemoth to help her escape the space rock and enact revenge on her former sisters. It all plays out in classic Deconstructeam style, with densely detailed, vibrant pixel art.

Deconstructeam

The Cosmic Wheel Sisterhood feels bigger than previous Deconstructeam experiences, layered with divergent gameplay styles, characters and narrative branches. A main mechanic in its first hour involves building a deck of divination cards, choosing the backgrounds, main symbols and supporting elements based on a rich grimoire of the combinations and their interpretations. 

Designing the cards can be as tedious a process as you want, and I thoroughly enjoyed taking my time to create a deck that I found to be beautiful (and creepy) as well as powerful.

At its core, Cosmic Wheel is a visual novel with narrative paths dictated by the player’s choices. The immortal Behemoth, Ábramar, is Fortuna’s main companion in the demo — but our little witch is actually fairly social for someone who's supposed to be exiled. As Fortuna rebuilds her deck with Ábramar, she reads the fates and fortunes of visitors that find her asteroid, and players are able to dictate, to an extent, what each card will reveal. These moments give Fortuna an upper hand, even in interactions with the massive god peering through her window, and they nicely supplement the standard flow of conversation.

Ábramar suggests multiple times that Fortuna’s decisions in conversations will “dramatically” affect her fate, and even in just an hour of playtime, I saw evidence of this feature. At one point, there’s an opportunity to lie to an authority figure in charge of auditing Fortuna’s sentence — the deception doesn’t fit with statements Fortuna has already made, but in games like these, often the “(lie)” option is the correct one, regardless of logical flow. That’s not the case in The Cosmic Wheel Sisterhood. The lie is immediately spotted, much like it would be in a real-life conversation with a member of a parole board.

In another instance, Fortuna is given the option to destroy her coven — but the choice is provided before we’ve met any other witches involved, when the sisterhood is a vague entity filled with faceless enemies in the player’s mind. Only after this decision, Cosmic Wheel introduces players to some of Fortuna’s former friends in a camping-trip flashback, allowing ample time for any guilt and regret to fester. The conversations these friends have, pre-asteroid and pre-coven, are amusing and authentic, and the information they provide is relevant to future tasks.

Pay attention to the details in The Cosmic Wheel Sisterhood. Lie only when you’re sure you can get away with it, listen to your companions’ stories, build a beautiful divination deck, and go ahead, seduce an immortal god of gods (that last one is less gameplay advice, more wicked encouragement). The demo comes to a close after that camping trip, with three friends watching the stars appear above a tranquil lake, laughing about life and making plans. The weight of the choices you’ve already made, more than 200 years in the future, linger in the chill air. Above it all, Ábramar waits.

Deconstructeam

The Cosmic Wheel Sisterhood is due out in 2023 for PC and Nintendo Switch, developed by Deconstructeam and published by Devolver Digital.

Laya's Horizon is the next big mobile game from Snowman, the studio behind Alto's Adventure and Alto's Odyssey, and it'll be available to play on May 2nd. While both Alto games were exclusive to iOS at launch, Laya's Horizon will hit iOS and Android devices simultaneously, and it'll be ad-free and cost $0 for anyone with a Netflix account.

Laya's Horizon is Snowman's most ambitious game yet, and its launch trailer showcases a vast mountaintop world as it introduces the game's main mechanic — zipping through the air in a wingsuit. The main character soars among various biomes, falling rapidly and grazing the edges of cliffs, trees and villages, collecting yellow gems along the way. The map is densely populated with plant life and man-made structures, while the sea stretches beyond, always within view.

I've spent some time playing Laya's Horizon, and it's clear that this is more complex and fast-paced than either Alto game, with more opportunities to crash and burn, but also more room to learn and grow. It's an engaging, cozy and responsive experience — I'll share more impressions about it closer to launch day.

Snowman partnered with Netflix for Laya's Horizon, and it's not the only indie studio working with the streaming company nowadays. Netflix is making a big and, so far, successful push into video game publishing and development, bringing titles like Spiritifarer and Into the Breach to mobile platforms for the first time. Netflix even purchased the team behind Oxenfree, Night School Studio, which is preparing to release Oxenfree II: Lost Signals this July.

Laya's Horizon is the next big mobile game from Snowman, the studio behind Alto's Adventure and Alto's Odyssey, and it'll be available to play on May 2nd. While both Alto games were exclusive to iOS at launch, Laya's Horizon will hit iOS and Android devices simultaneously, and it'll be ad-free and cost $0 for anyone with a Netflix account.

Laya's Horizon is Snowman's most ambitious game yet, and its launch trailer showcases a vast mountaintop world as it introduces the game's main mechanic — zipping through the air in a wingsuit. The main character soars among various biomes, falling rapidly and grazing the edges of cliffs, trees and villages, collecting yellow gems along the way. The map is densely populated with plant life and man-made structures, while the sea stretches beyond, always within view.

I've spent some time playing Laya's Horizon, and it's clear that this is more complex and fast-paced than either Alto game, with more opportunities to crash and burn, but also more room to learn and grow. It's an engaging, cozy and responsive experience — I'll share more impressions about it closer to launch day.

Snowman partnered with Netflix for Laya's Horizon, and it's not the only indie studio working with the streaming company nowadays. Netflix is making a big and, so far, successful push into video game publishing and development, bringing titles like Spiritifarer and Into the Breach to mobile platforms for the first time. Netflix even purchased the team behind Oxenfree, Night School Studio, which is preparing to release Oxenfree II: Lost Signals this July.

When it comes to sustainability, cities represent both the problem and the solution. Sprawling slabs of concrete and asphalt create heat islands, resulting in significantly higher temperatures than non-urbanized areas, while city populations are only growing as the planet becomes more populous. Already, more than 60 percent of humans live in urban areas.

Framlab is a research and design studio based in Bergen, Norway, and Brooklyn, New York, and architects there are focused on rethinking the way we build city spaces. Framlab founder Andreas Tjeldflaat believes there’s a need to overhaul conventional urban planning with an eye on inclusion, adaptability and regeneration. His concepts address micro- and macro-level societal issues, from feelings of personal isolation to the consequences of human-driven climate change. They also end up looking extremely sleek.

Tjeldflaat outlined three conceptual projects for us, each one addressing a different problem in growing cities. Open House is a building designed to encourage interpersonal interaction through the use of soft edges and shared spaces, while Oversky places floating, cloud-like buildings above the city streets. Glasir takes advantage of leftover urban spaces like empty lots and streetside landscaping by establishing large glass treehouses with community gardens inside their branches. Watch the video for the below for the full story.

Have you heard about the Scandoval? I asked a handful of friends this question over the past week, and a surprising number confirmed this strange new word had recently popped up in their news feeds, attached to stories from The New York Times, CNN and Vanity Fair. My friends didn’t quite know what it was, aside from the vague notion that it was related to the Real Housewives shows. More importantly, they didn’t know why it was being recommended to them, considering they didn’t follow Bravo shows or reality television.

That’s because this is the March Madness of reality TV. The Scandoval is an explosive cheating scandal involving the cast of Vanderpump Rules — and it’s unfolding in real time, with cameras on, allowing viewers to look for signs of deceit in every scene as it airs. There are clear villains and an obvious heroine, and it’s all leading up to the reunion, which was filmed at the end of March and has already provided a drip feed of drama and staged paparazzi encounters. The Scandoval is so monumental in the Bravo multiverse that it’s culturally important for people outside of this bubble to know what’s going on — just like folks who don’t follow sports are subjected to the NCAA’s media cycle every year.

Jeff Daly/Peacock

It’s not all about the Scandoval, either. This is a golden era for Bravo and its streaming home, Peacock. Nearly every Housewives franchise is popping off in its own special way, and many of them are making mainstream news headlines: Jen Shah of Salt Lake City was just sentenced to six and a half years in prison for running a telemarketing scam and her surprise arrest was caught on camera; Erika Jayne of Beverly Hills continues to display obscene greed as her estranged husband, disbarred lawyer Tom Girardi, is federally indicted on charges he stole millions of dollars from victims of corporate malfeasance. Miami, a streaming-only series exclusive to Peacock, just wrapped a beautiful fifth season and cemented itself as a blueprint for future Housewives shows; Ultimate Girls Trip, a crossover event that brings wives together like the third act of a Marvel film, is in its third season and already serving hype for its fourth. Married to Medicine continues to be a powerful, captivating and hilarious franchise centered on Black women and doctors in Georgia, and it’s bringing in a notorious wife from the Atlanta history books for its upcoming season.

That’s not even all of it, and the above list doesn’t address the biggest bit of Bravo drama happening right now: the Scandoval. Here’s a brief summary, for the culture: Vanderpump Rules is a spin-off of Beverly Hills starring the servers and bartenders of trendy Los Angeles restaurants. Its tenth season is currently airing, and as it kicked off, news broke that Tom Sandoval, a bar owner with Peter Pan syndrome, had been cheating on his partner of nine years, Ariana Madix, with a younger cast member named Raquel Leviss for the past six months. Details about the affair have been dripping out online — lightning bolt necklaces will never be the same — and viewers are scouring each new episode for signs of the pair’s lies. Meanwhile, Bravo picked cameras back up after the affair came to light, and the mid-season trailer promises intense, intimate reactions from everyone involved, plus plenty of vengeful edits for Ariana. The reunion is poised to be a spectacle like Bravo has never seen.

Nicole Weingart/Bravo

To put it back in sports terms: The Scandoval is like David Beckham cheating on Victoria with Emma Bunton. Or like Scottie Pippen’s ex-wife starting a relationship with Michael Jordan’s son — a storyline that literally happened on the latest season of Miami. See? As Quad said on season nine of Married to Medicine when asked whether she’d cheated on past boyfriends, our cup runneth over.

This all means Peacock is getting my money for the foreseeable future, no high-budget original series required. I mean, I loved Poker Face, but I haven’t thought about it much since watching the final episode of season one. Housewives and its related series live outside of the app, on message boards and social media and podcasts, filling the silence even between seasons. Meanwhile, the Scandoval is driving viewership for Peacock, where Vanderpump is available to stream next-day. Peacock is also the only place to watch Miami and Ultimate Girls Trip, two shows that already make it essential in my own app lineup. I never expected to get so much use out of an NBC streaming service, but here we are.

The next app to get my business will be whichever one picks up Married at First Sight Australia. If you’ve made it to this point in this article — a Real Housewives fever dream somehow published on a technology website — do yourself a favor and find a way to watch it (in between Vanderpump Rules episodes, of course).

The Resident Evil 4 remake starts out strong. Updated aiming mechanics and a fresh infusion of processing power make this the most exciting version of RE4 Capcom has ever delivered, and Leon Kennedy looks better than ever, even with his new chin implant. The remake performs well for the first few hours, as Leon shoots and stabs his way through the misty Spanish village where las plagas has transformed the locals into murderous tentacle monsters. These early scenes, set among crooked wooden buildings and the shores of a twisting cave system, establish the game’s blood-soaked tone and provide a satisfying balance of asset management, puzzle solving and modern third-person shooting.

As the game grows in complexity, it becomes clumsy. Capcom’s approach to modernizing RE4 is to add more enemies, cramped environments and fewer ammo drops – all of which could result in a high-tension action experience, if its controls were consistent. As it stands, the RE4 remake is plagued by sluggish animations and frustrating combat sequences. Leon constantly feels underpowered, unable to evade basic attacks or reliably land a shot.

Resident Evil 4 set the standard for action-horror games when it came out in 2005, and the remake shines when it embraces the innovations of the original: over-the-shoulder precision shooting and an atmosphere blending combat and terror. However, the remake loses focus quickly, and it feels like much of Capcom’s effort was poured into upgrading enemies and environments, leaving Leon in the GameCube-era dust.

The RE4 remake introduces new boss fights and head-bursting enemies, and it also allows Leon to parry powerful attacks. Sometimes. The parry ability is only available if Leon has a knife on standby, and when the prompt does pop up, it’s easily interrupted by environmental nudges, the actions of other enemies, and Leon’s own animations. Like most of Leon’s movements, the parry ability is simply too inconsistent to be satisfying, and it generally does nothing to heighten the tension of combat scenes.

The remake often places Leon at the center of a swarm of enemies, without the option to quickly dodge incoming attacks. He has to shoot or press his way through the horde – but he runs as if he’s knee-deep in sludge, and even a bullet to the head doesn’t always stop a rushing cultist. Meanwhile, enemy attacks always interrupt Leon. Sluggish movement is authentic to the experience of the original four Resident Evil games, and it’s something that the RE2 and RE3 remakes specifically address, offering updated controls and environments that feel at home on modern hardware. In comparison to those games, RE4 feels unfinished, or at least un-finessed.

Capcom

One boss fight that Capcom reimagined for the remake is against Méndez, the mutant priest with the extra long spine. In the original, Méndez slings a repetitive series of attacks from the rafters of a burning slaughterhouse. In the remake, Méndez drops back to hurl flaming logs and explosive oil drums at Leon, before rushing forward for close-quarters fighting and alternating these positions a few times. Even though the environment in the remake is larger, it’s cramped with flames that interrupt Leon’s actions any time he touches them. Méndez moves quickly and so do the objects he throws, while Leon has a sluggish run ability, no way to quickly dodge, and lethargic animations for reloading, retrieving items, touching fire and knifing enemies. Méndez seems like a fully remade character here; Leon, not so much. This results in a frustrating boss fight.

I died a few times while trying to defeat Méndez – and that’s when Capcom pranked me. I was playing on Standard, and during my Méndez death screens, the game started prompting me to turn on Assisted mode, the lowest difficulty setting. I generally don’t do this during reviews, but a dozen infuriating attempts later and I relented, pressing OK without reading the fine print. Assisted mode makes the game incredibly forgiving, and I easily defeated Méndez in the following run.

And then I was unable to change my difficulty settings at all. Keep this in mind: Assisted mode is permanent in RE4.

I played a few more minutes on the lowest difficulty setting, but it truly felt like a different game than the Standard version, devoid of tension or risk. Luckily, I was on PlayStation 5, which only syncs cloud saves when you exit a game. I turned off the console’s internet connection, closed the game and then downloaded the old save file from before I switched settings. Then I defeated Méndez the old-fashioned way, on Standard difficulty, and carried on with a newfound fear of accidentally switching to Assisted mode in my soul.

Permanent downward mode-switching is a standard feature in Resident Evil games, but I find it to be baffling. It’s especially confusing as RE4 actively encourages Standard players to try Assisted mode in loading screens and death menus. I asked Capcom why the team designed RE4 this way, and a spokesperson said, “The difficulty mode a player completes the game on has ramifications for in-game achievements and trophies.” This doesn’t fully answer the question for me: Plenty of action games have dynamic difficulty settings without disrupting achievements, and this response doesn’t address my perception that Capcom is prioritizing trophy integrity over accessibility.

Capcom

While we’re in the complaints department, I also want to encourage all PS5 players to turn off controller sounds in the audio settings. This goes for RE4 and literally every other game with this feature. Why is the volume on the DualSense so loud, all the time? Please, someone, make it stop.

This is what the RE4 remake has reduced me to: a pleading mess of unfulfilled nostalgia and frustration. It’s not a terrible game, but it isn’t seamless, either. It adds enemy variety and fresh environments, but Leon’s bullets routinely hit their targets without dealing damage, his movements are clumsy and his new parry ability is only semi-functional. The game clearly establishes combat strategies for each scene, but then its mechanics get in the way, punishing the player in the process. Overall, the word for the RE4 remake is inconsistent.

Activision is attempting to quell anxious Call of Duty: Mobile fans after a legal filing last week suggested the studio is already planning the game's demise. In a tweet today, the Call of Duty: Mobile team said it planned to continue supporting game "for the long haul," calling it an important part of the franchise. 

The long-term future of Call of Duty: Mobile came into question on March 8th, as part of ongoing legal negotiations in the UK over Microsoft's proposal to purchase Activision-Blizzard for just under $69 billion. Microsoft has been repeatedly downplaying Activision's power in the video game industry in an attempt to thwart anti-trust concerns from the UK's Competition and Markets Authority, and the studio applied the same treatment to Activision-Blizzard mobile games in a legal filing last week. 

Specifically, Microsoft's response said, "CoD: Mobile is expected to be phased out over time (outside of China) with the launch of Warzone Mobile."

Warzone Mobile is scheduled to come out this year, bringing the Call of Duty battle royale experience to Android and iOS devices. Warzone Mobile represents Activision's attempt to unify the Call of Duty franchise, sharing technology, progression, socialization and payments among the annual mainline games, Warzone and Warzone Mobile. Meanwhile, Call of Duty: Mobile has its own battle pass and seasons.

The tweet from the Mobile team is intended to keep existing players invested. It doesn't delve into specifics about how long the game's lifespan will be, and it doesn't directly address Microsoft's suggestion that the game will eventually be shut down everywhere except China. But, it promises Call of Duty: Mobile will be sticking around for a while longer.

"We ... intend to continue supporting the game with a robust roadmap of fresh new CODM content, activities and updates for the long haul," the statement said.