Bam Margera has urged fans to boycott Jackass 4 after he was allegedly cut from the movie.
LADBible transcribed two videos that Margera posted on Instagram before they were seemingly deleted. In the videos, the Jackass prankster apparently claimed that Paramount had cut him from the upcoming fourth movie. He alleged that the studio forced multiple breathalyzer tests on him, as well as requesting urine samples and filming him take anti-depressants, per the report.
“Who the f**k cares if I’m drunk as hell anymore? Jackass has put me through hell on f**king wheels for a year-and-a-half,” Margera reportedly said. “I wrote them so many ideas, and if I’m not in the movie and they use my ideas, how do you think that will make me feel? The last thing I want to do is be in a courtroom with [director] Jeff Tremaine, I love him. But f**k, man, I’m not in Jackass 4?If anybody cares about me, don’t go see their movie, because I will make mine way f**king radder if you just Venmo me a dollar.”
Later, Margera stated that he was feeling a lot of “pain” because Jackass was “everything” to him. He then implored people to support him in creating his own production to rival Jackass 4, saying, “If anybody cares about me at all, then throw me a f**king bone and send a dollar to this Venmo and the more you send, the radder s*** we can do, and I give everyone f**king credit for it. Like, I can’t compete with their $10m, ladies and gentlemen, but if I had that, I would blow them out of the f**king water.”
IGN has reached out to Paramount for comment, and will update this story should they respond.
A controversial but influential icon of early 2000s reality TV, Jackass was created by Johnny Knoxville, Spike Jonze, and Jeff Tremaine. Jackass began life as an MTV series that ran from 2000 to 2002 before migrating to the big screen for 2002’s Jackass: The Movie. It was followed by two sequels, Jackass Number Two (2006) and Jackass 3D (2010), as well as some direct-to-DVD specials pieced together from unused movie footage and the 2013 Oscar-nominated spin-off Jackass Presents: Bad Grandpa.
Paramount announced in 2019 that a fourth Jackass installment was set for production, and scheduled the movie for release on March 5, 2021. Last year, however, the fourth entry in the extreme stunt franchise was delayed until July 2, 2021, as a result of the coronavirus (COVID-19) pandemic. In further calendar changes, Variety reports that the release is now slated for September 3, 2021.
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Adele Ankers is a Freelance Entertainment Journalist. You can reach her on Twitter.
This review contains spoilers for Marvel’s WandaVision episode 6, now available to view on Disney+. To remind yourself of where we left off, check out our WandaVision episode 5 review.
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WandaVision has gone from strength to strength with each new episode, and that trend certainly doesn’t stop with Episode 6. While it may not have a surprise up its sleeve as outlandish as last week’s unexpected visitor, Episode 6 returns to the uneasy mystery vibes of earlier chapters for quieter, but no less spectacular effect.
Episode 6’s first half feels more like the earlier half of the season, played out as a straight comedy homage and letting the stranger elements play out beneath the surface. This week writers Chuck Hayward and Peter Cameron make the pitch-perfect decision to pastiche early 2000s classic Malcolm in the Middle, which lends the entire episode a fun directorial style with cutaway gags and to-camera jokes. There’s an almost zany quality to the tone, which complements the meta storyline, which itself continues to escalate its joyful weirdness.
Much of that comes from the introduction of Evan Peters’ Pietro Maximoff, who is a mainstay throughout the episode. His existence inside the sitcom means he’s written in-line with his cheeky portrayal in the X-Men films, strengthening the connective tissue between the two universes. Smartly, the show isn’t ready to blow his secrets just yet, and so the episode is just peppered with small moments of confusion from Wanda about his history. That calls into question exactly how he’s arrived, because it certainly seems like Wanda didn’t make him.
On the sitcom level, he works as the perfect weird uncle, and acts as a catalyst to make Billy and Tommy more interesting characters. They’re still largely kid stereotypes, but the evolution of their super powers helps bring them closer to their comic book origins and thus more important to the story. It’s also particularly cute to see Billy dressed in a Wiccan Halloween costume, and Tommy’s Quicksilver costume hints at his comic book counterpart, Speed.
The Halloween setting of the episode also finally gives us our first ever look at Wanda as the Scarlet Witch.. sort of. Her ‘Sokovian Fortune Teller’ costume is, naturally, based on the classic comic look, and Vision gets a similar set of threads. These comic ties are mirrored in the more serious moments, too. During a heart-to-heart with her brother, Wanda explains how she doesn’t know how she made Westview, but just remembers feeling completely alone in endless nothingness. While we know in the context of the show this is due to the death of Vision, this is a neat adaptation of the darkness that Scarlet Witch deals with in the comics during the years leading to events such as Avengers Disassembled and House of M.
On the subject of the death of Vision, this episode sees our favourite synthezoid play detective following his fight with Wanda. There’s an almost X-Files vibe to Vision’s story this week, as he cuts loose from his family to try and uncover exactly what’s going on. This produces some of the show’s most unsettling imagery as he reaches the edge of town; a crying woman hanging decorations is particularly eerie. But his meeting with Agnes, in which she finally breaks character and reveals that he is dead, is the hammer that truly cracks Vision’s understanding of the world.
Episode 5’s stand off between Wanda and SWORD on the edge of the hex is neatly mirrored as Vision breaks through to the other side. But where Wanda’s scene was confrontational, demonstrating her defensive headspace, Vision’s scene is all about compassion. Rather than attempting to escape, he pleads with SWORD for them to help the people trapped in Westview. As if that wasn’t sad enough, Vision begins to flake and splinter as his dead body breaks down outside of the illusion. The effect parallels that of Thanos’ snap, which is effectively the MCU’s signifier of fragile mortality these days.
Wanda’s extension of the hex to save Vision from decaying is both a huge set piece for the episode, and a visual summary of where we are so far. Wanda just can’t let Vision go, and as heartbreaking as it is, her insistence on keeping him prisoner is a growing problem that’s hurting more and more people. I do hope we get to visit the SWORD carnival next week, though, as tragic as its origins are.
Speaking of SWORD, the agency is once again a major part of the episode, and the rift between Hayward and Monica widens. With Monica, Darcy, and Jimmy essentially a splinter faction now, it’s safe to say that SWORD are definitely our bad guys, and Hayward’s shouty bravado is pretty easy to hate. It also paves the way for upcoming reinforcements; Monica mentions a friend who can help her get back into Westview, which is a fun tease for what will hopefully be a big-name cameo or a new character entirely. With X-Men characters now in the fold, all bets are open as to who this could be. But if you need a scientist who can break a barrier, perhaps a certain Fantastic thinker may be worth calling?
Also offering a tease for the future is Darcy’s discovery of Monica’s bloodwork, which shows her cells being re-written on a molecular level. This adds an additional layer of danger to the trio’s ambitions of breaking back into Westview, but ultimately works as a nod to the comics and a hint at what could potentially be a superpowered future for Monica Rambeau. It also raises the question as to how this affects every single person trapped inside of Westview. In the comics, Wanda wiped out all mutants in House of M. It would be a clever reversal if she’s actually responsible for all mutants in the MCU.
The ex-lead writer of Overwatch, Michael Chu, is working on a “multiplayer character-action game” for new 2K Games studio 31st Union.
Twitter user MauroNL put together a thread looking at 31st Union’s job openings. The most telling nugget of info comes from the Senior Software Engineer listing, which calls 31st Union’s upcoming game a “multiplatform multiplayer character-action game,” which sounds like a similar premise to other hero shooters such as Overwatch or Team Fortress 2.
A Senior Engine Programmer listing also calls the game “AAA,” desiring a candidate familiar with “PS4, Xbox One, IOS and Android development tools.” Other listings mention familiarity with Unreal Engine 4, suggesting this is the engine the game is being built in.
Ex-Overwatch Lead Writer Michael Chu joined 31st Union in July 2020 and mentions in a blog post on the studio’s website that he is passionate about creating inclusive characters, and has found a studio that represents these values in 31st Union. “Our mission is not only to tell diverse, representative stories, but to create systems that will enable us to authentically and accurately represent underrepresented groups from around the world, and perhaps most importantly, to foster an inclusive environment where these stories are told by a broad and diverse group of creators who speak with their own voices, from their own experiences,” his blog post reads.
A Writer listing for the mysterious upcoming game mentions how the candidate will be responsible for pitching “original characters and storylines” as well as working on in-game factions to “shape the future of storytelling in online multiplayer gaming.” An opening for a Senior World / Level Designer talks about the need for those experienced in “online multiplayer action games” to “own map ideas from inception to completion” with a focus on fine-tuning post-launch. “Can take a set of systems or player abilities and build spaces that highlight those abilities in interesting and creative ways,” the listing reads.
That specific mention of player abilities adds to the mounting evidence that the game will be a hero shooter in the vein of Overwatch. Potential Software Engineers will work on matchmaking, telemetry, replay, latency spikes and more, and will need to “improve network code resistance to cheating and security exploits,” which are all facets of a successful multiplayer character-action game.
Of course, the game hasn’t been officially revealed yet, but we’ll be sure to keep you posted if we hear anything more. VG247 reported in early 2020 that according to a Take-Two earnings call, 31st Union’s game was going to be revealed “over the coming months,” but plans may have been impacted by the pandemic.
31st Union is based in San Mateo, California and was established back in February of 2019, with the studio’s name being revealed in February of 2020. The team is being led by Michael Condrey, previously the co-founder of Sledgehammer Games. Elsewhere at 2K, another new studio known as Cloud Chamber is working on a brand new Bioshock game.
The Call of Duty battle royale game Warzone has been updated once more, with the newest update fixing a few issues and introducing new Valentine’s Day playlist names.
The update fixes an issues related to hit markers not appearing as they should, XP not getting applied in the right way, and a problem related to UI elements not loading.
As for the new playlist names, Warzone Rumble becomes “Rumble in the Sheets,” while Plunder changes its name to “Love & Plunder.” names tha
📄 #Warzone update going live momentarily: • Fixed issue causing hit markers to not appear consistently • Fixed issue with weapon XP not awarding as intended in MW multiplayer • Fixed issue with UI elements on the Loadout Menu • Updated Valentine’s weekend playlist names
Black Ops Cold War is also getting a little Valentine’s Day makeover with its new “Kiss Confirmed” mode which is a spin on Kill Confirmed that replaces dog tags with candy hearts.
Here’s the latest details on this week’s playlist update for Warzone.
Adding:
Verdansk Battle Royale – Warzone Rumble
Plunder – Trios
Rebirth Island – Resurgence Trios
Removing:
Plunder – Quads
Call of Duty: Black Ops Cold War and Warzone’s double weapon XP weekend event is running now through February 16 on all platforms.
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The upcoming My Little Pony movie has been bought by Netflix. The animated family film was originally set to be released theatrically by Paramount in September this year, but it will now premiere on the streaming service later this year.
According to The Hollywood Reporter, Netflix has struck a deal with Hasbro, who produced My Little Pony, to release the film internationally, with the exception of China. My Little Pony is directed by Rob Cullen, Jose Ucha, and Mark Fattibene.
The movie is the latest release from the hugely popular toyline and TV franchise, which launched in 1982. The last film was 2017’s My Little Pony: The Movie, which was a spinoff the reboot series My Little Pony: Friendship Is Magic. THR states that the latest movie will be set in the “beloved pony world of Equestria as it expands to introduce a new generation of ponies to a new generation of fans.”
My Little Pony is the latest of several movies that Paramount was set to distribute theatrically that will instead end up on streaming services. Others include The SpongeBob Movie: Sponge on the Run, which hit Netflix internationally in November and will debut in the US on CBS All-Access in March, plus the comedy sequel Coming 2 America and Tom Clancy thriller Without Remorse, both of which were bought by Amazon and release in March and April respectively.
In related news, it was reported last year that Hasbro and Paramount are developing two new Transformers movies. The companies are looking to “expand the Transformers universe,” and one of the films could be based on the Beast Wars spinoff.
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Another special Max Raid event is now underway in Pokemon Sword and Shield. From now until February 14, Milcery will appear in Max Raid dens much more frequently than usual, and you’ll have a chance to encounter a Shiny Milcery in five-star Max Raids.
The Milcery you encounter as part of this event will all have the Gigantamax factor, meaning they’ll evolve into an Alcremie that’s capable of Gigantamaxing. On top of that, you’ll earn various types of sweets such as star and ribbon ones when you clear a Max Raid. These items can be used to evolve Milcery into different flavors of Alcremie.
The event runs until 3:59 PM PT / 6:59 PM ET / 11:59 PM UTC on February 14. To begin encountering the new event Pokemon, you’ll first need to refresh your Raid dens. You can do this either by connecting your game online or by selecting Get the Wild Area News from the Mystery Gift menu.
In addition to the new Milcery event, The Pokemon Company is giving away a free item bundle for Sword and Shield. As a reward for defeating more than 1 million Cramorant during the games’ recent event, all players can claim a free Toxic Orb, Flame Orb, Gold Bottle Cap, and other items via Mystery Gift. The freebies will be available until February 28.
The Pokemon Company has also announced that it will soon give away a free Pikachu for Sword and Shield as part of its Pokemon 25th anniversary celebration. What makes this Pikachu special is that it knows Sing, a move that it can’t normally learn in the games. That giveaway will begin February 25. Then, on February 27, The Pokemon Company is hosting a virtual concert featuring Post Malone.
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The Music of Red Dead Redemption 2: The Housebuilding EP is a special release that’s now available to stream or purchase as a limited-edition blue sky vinyl. To celebrate the EP’s release, Rockstar is also offering two chances to win one of these records.
A Strange Kindness (David Ferguson and Matt Sweeney)
A Quiet Time (Saloon Theme, David Ferguson and Matt Sweeney)
The Course of True Love (David Ferguson and Matt Sweeney)
Do Not Seek Absolution (David Ferguson and Matt Sweeney)
If you want access to The Housebuilding EP digitally, you can now purchase it from online storefronts like iTunes, or you can stream it on services like Spotify or Apple Music. If you’re more of a physical media person, you can also snag the blue sky vinyl from the Rockstar Warehouse or the Lakeshore Records Online Store, though they are in very limited supply.
To celebrate The Housebuilding EP’s release, Rockstar is also offering two ways to win one of 20 limited-edition vinyls. Users of Rockstar’s Social Club can sign up on the contest entry page until February 18 to be entered to win one of the vinyls. Ten entrants will be selected to receive one of the records. Alternatively, the Rockstar Twitter account will be tweeting out a contest entry post later today. Follow the Rockstar account and retweet the official contest post to score an entry. Another ten entrants will be selected from those who retweeted by February 13. For more info on the conditions of both giveaways and how to win, check out the rules for the Social Club Contest and the Twitter sweepstakes.
Director Bong Joon Ho has finished writing one of two next projects he’s hoping to embark upon. In an interview with Rian Johnson (Knives Out) for The Director’s Cut, the Directors Guild of America’s podcast, Bong shared that despite starting 2020 out feeling exhausted, he was still able to rally and complete something during the year that proved more turbulent as it continued to unfold.
While we already knew from 2019 Atlantic and Variety pieces that Bong was working on an English-language film and a Korean-language film, the director unfortunately didn’t share with Johnson which project he finished. With both still fresh in mind, Bong told Johnson, “It feels like I’m splitting my brain in half left and right writing these two scripts. But I finished one last week.”
From those previous pieces linked above, we know that (via Variety): “Both projects are not big films. They’re the size of Parasite or Mother. The Korean film is located in Seoul and has unique elements of horror and action. It’s difficult to define the genre of my films. The English project is a drama film based on a true event that happened in 2016. Of course I won’t know until I finish the script, but it has to be set half in the U.K. and half in the U.S.”
This is encouraging news, though it also means it will be some time still before we hopefully hear about casting and film dates for either project. And this is also assuming Bong was not speaking about the planned Parasite limited series for HBO created in collaboration with Vice director Adam McKay. Back in 2019, whose 2019 film Parasite won an amazing and well-deserved six Oscars. In the meantime, you can also dig into the rest of Bong’s catalog with our handy guide here.
You can check out the full interview with Johnson in the embed below.
Love Shore, a cyberpunk noir visual novel, is the debut title of developer Perfect Garbage–which, in it of itself, is a wonderful name for a studio. “Essentially, we were brainstorming with our other co-founder, [art design director] Kabo, who is sort of our head, and we were joking around,” narrative director Emmett Nahil told me. “And I think [studio director] Son [M.] said, ‘We just make garbage. It’s all we do, we make garbage,’ and Kabo goes, ‘Yeah, but it’s perfect garbage.'”
It’s an amusing origin for a studio that’s making a game I’m so excited to play. Love Shore takes place in a future metropolis inhabited by both humans and old gods. When the city faces a fertility crisis, a biotech firm steps in, creating fully-formed human beings composed of cybernetic parts save for their biological brains. These cyborgs are called S.Humans, but the company only managed to build 100 before going bankrupt–turns out parents would rather conceive and raise biological offspring that grow naturally than continue to pay for the upkeep of artificial children.
Quite a few games set in cyberpunk or cyberpunk-inspired worlds are scheduled to release in 2021–Anno: Mutationem, The Ascent, Jack Move, and Solace State, among others–but Love Shore stands out due to its approach to storytelling. It stars two different protagonists, Farah and Sam, whose wholly separate journeys through the same city intersect in both foreseen and unforeseen ways, influencing one another. It’s a bit like Claire and Leon in Resident Evil 2.
“We felt we could do a lot more narratively with two distinct storylines, with two completely distinct individuals that were prebuilt, have their own wants, needs, and desires in the context of the world,” Nahil explained. While he primarily wrote Farah’s route through the game, Son M. covered Sam’s route.
“But we are in constant communication with one another, if only to make sure that we are being cohesive,” Son added. “Because the cool thing about Love Shore is that all of the narratives intertwine–they’re all happening at the same time, even whether or not you engage with [them]. And to make sure that continuity is carried in every route, we are in constant communication like, ‘Where’s your character at this point on this day? What are they doing?'”
This gives players a wonderful incentive to play Love Shore multiple times–beyond the eight different companions to befriend (or romance and smooch) and over 25 possible endings. You might gain a whole new understanding of certain revelations in Farah’s route after playing through Sam’s and vice versa, which could inform how you interact with certain characters or choose to react to specific events in subsequent playthroughs. Sam and Farah cross paths at certain points in their respective stories as well, so playing through both routes allows you to see certain scenes from a different point of view.
“But you won’t know the impact of your choices until you play the other route and your choices are reflected back at you with the other character,” Son said. “Because you do interact with the other character through each storyline, and those [interactions] have ripple effects.”
“The cast crossover as well,” Nahil adds. “So if you’re in Sam’s route, you’re still going to meet a lot of the companion characters from Farah’s route too. It’s all one world. You’re constantly interacting with the other half of the cast.”
Farah is on the left, Sam is on the right.
Both Nahil and Son were quick to correct me when I referred to the extended cast of main characters as “romance interests.” Love Shore treats its diverse cast of eye candy as companions, not potential lovers. True, this is a visual novel with a focus on relationships and love, but those feelings don’t have to strictly be romantic or sexual. You can pursue friendships with these folks too if you prefer, or embrace pure chaotic energy and try to burn every bridge you have–the latter of which, I admit, is a path I am never brave enough to pursue in any game I play. “You and me both,” Son laughed.
To that effect, Farah and Sam don’t always feel like the main characters of Love Shore. Sure, they’re who you play as, but the world of Love Shore seems to revolve around the companion characters. Son explained that you’re basically walking into their stories following Farah and Sam’s release from prison–and that’s definitely how Love Shore’s free demo (available on Steam) made me feel. Farah is quickly drawn into the search for Imani, a scientist that stumbles upon a dangerous secret, while Sam finds himself aiding Alyosha, a man who supposedly died 100 years prior to the start of the game. If anything, the demo made it feel like Love Shore was Imani and Alyosha’s story, with Farah and Sam acting as the common thread between the two.
No one took care of Farah’s body while she was in prison, so one of your first tasks in her route will be getting a tune-up for her cybernetics.
“We went in saying that every character has their own life happening,” Son said. “We call [the other main characters] ‘companions’ for shorthand, but oftentimes Farah or Sam are the companion to them, to what’s happening in their lives. What’s cool about Love Shore is that every character is completely fleshed out and they have their own lives and their own perspectives on what’s going on. And they might not often agree with you, so how you play and how you choose to engage with them–whether you become lenient with Farah’s beliefs, or you end up becoming more strict at a certain point with Sam–can really shape the relationship with who you’re with.”
Nahil added that the team knows that players will try to navigate Love Shore in order to try and get closer to the character of their choice, consequences be damned–perhaps deciding who to befriend or romance before even booting up the game. Perfect Garbage is planning for that, aiming to subvert player expectations to tell more satisfying stories. “That’s one of the things that we really enjoy doing as drama writers,” he said. “We have all this latitude to play with people’s perceptions and what they think visual novel characters are going to be like versus what their perception of the literary genre is.”
That subversion may come through in the makeup of Love Shore’s cast; the companions are a diverse group in terms of gender, sexuality, and race, and both Farah and Sam are brown and queer as well. It’s refreshing to see a game put queer folks and people of color front and center, especially in a genre like cyberpunk where they’re, more often than not, tokenized or used as the set dressing to convey otherness or poverty.
“We are a very narrative-driven studio, we really value storytelling, and our main goal is putting marginalized characters with backgrounds like us at the forefront of these stories,” Son said. We’re trying to write people like us into genres and settings that we love and we enjoy, but don’t often get to see ourselves in. We joked when making Love Shore that we never see a brown cyberpunk main character, despite the genre often utilizing the marginalized experience.”
Farah is quickly drawn into Imani’s story, which puts her in the middle of a war amongst the gods of the city.
And that’s part of why I’m excited to play Love Shore. If the demo is any indication, Farah and Sam aren’t marginalized because they’re brown and queer; they face a daily social stigma becase they’re S.Humans. They just also happen to be brown and queer. And, importantly, this doesn’t seem to be Perfect Garbage’s attempt to clean its developers’ hands of tackling storylines and themes related to real-world discrimination. It’s the opposite actually. Perfect Garbage is composed of queer folks and people of color–these developers know the marginalized experience. And by shifting the focus of Love Shore so that it gets at the heart of the stigma aimed at a made-up group of people, Perfect Garbage can explore that experience without tokenizing it.
There’s a real sense that this society views S.Humans more as property, someone to be owned and controlled before being discarded, as they are somehow less human by nature of their creation. For example, when jailed, Farah and Sam aren’t kept in the normal lock-up like the human prisoners–they are instead forced into a state akin to sleep paralysis, fully conscious but having no agency over their body. This lack of agency is extended even further in the first chapter of Sam’s route, when we learn that S.Humans don’t actually age–all of them began as children that their parents upgraded with new parts at designated points in their lives in order to appear older. But with the company responsible for the creation of these parts now gone, all S.Humans are perpetually stuck looking like whatever age they managed to reach. Sam, for instance, is over 30 years old, but he still looks to be in his late teens or early 20s, and he’ll always be perceived that way. Dysphoria is a major theme of the first chapter of his route as a result; it’s Love Shore relying on a fictional lens in a fictional setting to focus on and explore a real-world issue. This allows characters like Conrad, a transgender man and one of the main companions in Sam’s route, to just be a character in the story, as opposed to the whole of his identity solely being tied to the struggles of being trans.
Sam finds himself in the midst of a bizarre mystery after meeting Alyosha, a man who’s been listed as dead for a century.
Nahil explains that this is also why Love Shore is a visual novel, beyond the very matter-of-fact logistical reasoning that this genre is more approachable and affordable to make for a small indie team in comparison to, say, a 40-hour open-world RPG. With the format of a visual novel, the player is encouraged to take in details at a slower pace–clicking through still images and reading through every conversation before making a choice. The game asks you to pay attention to every little detail in order to make informed decisions, especially since the knowledge you glean from one protagonist’s route will provide context for the other. There’s no binary morality system in Love Shore either–your actions simply have consequences, and whether you think they’re good or bad is up to you.
“We really want it to be personality and perspective [based] decisions that are happening and not choices dependent on moods or like, ‘Am I an asshole if I pick this one? Or is this what Farah would say building up to this moment?'” Son said. “We hope that [the consequences] fluctuate in their complexity and that you’re surprised when you get a certain ending.”
Love Shore is one of 50 indie games you should keep an eye on in 2021; Perfect Garbage’s visual novel is currently scheduled to launch for PC in October this year. But that won’t be the last we hear of Perfect Garbage–the developer has already begun brainstorming for its sophomore effort, which, according to Son, will have a creepier vibe. “We are big horror fans,” they said. “And it’s funny because we all like different types of horror and that really comes through too.”
Battlefield 6 has a release date sometime around Holiday 2021. The game was confirmed in an investor call that used vaguely worded statements like the game having a never-before-seen scale, ambitious ideas, and a next-gen vision. Rumors have since started spilling out about what in-game mechanics those statements might translate to.
In this video, we’re looking at what those rumors–such as fully destructible cities, 128-player matches, free-to-play elements, a battle pass, cosmetics, and cross-play–could mean for the game. Specifically, we’re going to explore why some of these ideas might be good or bad and compare them to what past Battlefield games have tried.
The next Battlefield game is set to release on next-gen PS5, Xbox Series X/S, and PC around late 2021. We expect to get the first real details at a reveal event slated for this spring.
