Category: Games

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GameSpot may get a commission from retail offers.

GameSpot may get a commission from retail offers.

Do you defuse the bomb and save Megaton? Or let it explode and take the town with it?

Fallout 3‘s big decision is memorable for its stark simplicity and big consequences. It should be an easy choice and it certainly seems open-and-shut on the surface. What monster would let a city, and all the people in it, burn? Well, the wages of sin is wealth. Defuse the bomb and you’ll earn 300 caps and an apartment in Megaton. But let it explode and your haul increases to 1,000 caps, plus a luxe penthouse in Tenpenny Tower where you can kick your feet up.

Even with incentives, though…

“I could only bring myself to do it once,” said Dan Shafer, associate professor of Film and Digital Media at Baylor University and author of Moral Choice in Video Games. “The feeling you get after blowing up the town for the evil Tenpenny is terrible. And, to make it worse, when you go back to the crater where Megaton once stood, you encounter ghouls, former townspeople who weren’t killed in the blast, but were turned into mournful zombies. It is gut-wrenching.”

Shafer isn’t alone in his discomfort. Many players are hesitant to become death, the destroyer of worlds. Early last year, John Ebenger, a former cinematic designer at BioWare, stated that only 8% of players chose the Renegade options in the Mass Effect games. Mass Effect’s Paragon and Renegade choices don’t map perfectly to the Good versus Evil of the Megaton choice, but other developers of choice-based RPGs have observed a similar split.

“That’s consistent with the numbers I’ve seen,” Carrie Patel, a senior narrative designer at Obsidian, said, citing one of The Outer Worlds‘ defining moral choices–whether to turn against the scientist who rescued your character from cryosleep and join forces with the monolithic, hyper-capitalist Board–as an example. “The vast majority of players side with Phineas.”

Stephane Beauverger, narrative director on Dontnod’s Vampyr, echoed that sentiment.

“According to some statistics we had while working on the project, we learnt that when facing a moral dilemma (invited to choose between a ‘good’ or a ‘bad’ decision), about 75% of the players prefer to take the morally high road,” Beauverger said via email.

But… why? Video games have famously invited us to rampage. There’s even a famous video game called Rampage. So why the unease about making bad choices? Do certain kinds of games evoke guilt? And what kind doesn’t? How does the Jaws-simulator Maneater, for example, make it feel effortlessly fun to massacre innocent human beings? How does Carrion’s limb-ripping carnage sidestep guilt in favor of glee? By contrast, why do choice-based RPGs–which often ask us to do small unkind acts in the name of roleplaying a villainous character–often leave us with pangs of regret? And how do skilled developers coax players over the moral threshold?

To answer those questions and more, we need to take a closer look at the work developers do to create compelling games, and the work psychologists and academics have done to help us better understand the engines that power moral choice.

Humanize The Monster, Dehumanize The Humans

In 2020, the games industry produced a bumper crop of titles that cast players as literal monsters. Maneater, Carrion, Destroy All Humans!; each cast players as human-killing creatures and gave them permission to go wild. David Sallman, who worked as lead game designer on Black Forest Games’ remake of Destroy All Humans!, in which players take on the role of a hilariously murderous extraterrestrial, laid out a simple roadmap for getting players to identify with humanity’s adversaries.

“Reducing humans to caricatures, basically dehumanizing them, is a first step to do this,” said Sallman. “Another step is to then humanize the aliens…. Giving alien protagonists depth and taking it away from humans helps establish the congruent goals between the player and [alien protagonist] Crypto from a ludonarrative standpoint. Humans that are portrayed with some extent of depth are almost exclusively evil, giving the player a justification to go after them.”

In other words, sometimes being a member of the same species isn’t enough to get on a player’s good side. In fact, players often naturally develop kinship with the character they’re playing, even if that character is a massive red blob of teeth and tentacles.

“I think it’s actually easier than it sounds. Just by giving the player control over the creature or the villain, you automatically kind of start being somewhat sympathetic to the character, at least to some extent,” said Krzysztof Chomicki, game and level designer for Phobia Studios’ Carrion, in which players control a tentacle-slinging blob creature that eats people to grow larger and more dangerous. Chomicki recalled experiencing something similar while playing the Alien versus Predator games in the early 2000s.

“Mostly because I was allowed to play as the Predator, I formed this kind of bond [with] that character, which doesn’t happen when something is just the villain. When you just go around shooting xenomorphs, you may think they are cool, but you don’t necessarily feel sympathetic towards them. I guess this is kind of what’s going on in Carrion: just by giving players control of the blob-like creature, they automatically start caring for it. It becomes this kind of Tamagotchi.”

And, as Bill Munk, game director on Tripwire Interactive’s Maneater, points out, games don’t exist in a vacuum. Players take to controlling the murderous, human-chomping shark in Maneater, in part, because they have internalized the popular mythology of the shark as communicated by Discovery Channel’s Shark Week and films like Jaws, The Shallows and Sharknado.

“In a way, we have popular shark fiction to thank for making Maneater’s main character so effective,” Munk said. “When players have spent so much time sharing their fear of sharks with the characters they see in movies and TV, and then they are given the chance to become that shark they’ve spent so much time fearing, they naturally unlearn [that fear] because we’ve presented them with the opportunity to detach from that fear and step into the shoes of the monster that’s creating it.”

“In the end, killing humans isn’t the fun part of the game. Killing humans is a vehicle for the fun part.”

“The idea of Maneater being a hilariously narrated nature documentary that emphasizes the real beauty of sharks contrasted with the hateful views of the shark-murdering villain, Scaly Pete, does a lot to also remind players that, in real life, we are more of a danger to sharks than they are to us. It flips the script a little bit and allows the player to start to empathize. Then we make Scaly Pete kill the player shark’s mom, and suddenly everyone is out for blood.”

In action games, players are accustomed to accepting that they have to kill all the bad guys. Often, those bad guys are other humans. The justification for why you have to kill them all may be good (they’re Nazis and they’re shooting at me!), or it may be flimsy (they’re in my way!), but humans are and have basically always been a common enemy type in video games. It doesn’t seem to make much of a difference in our moral calculations if our own avatar is human, too.

And in action games like Carrion, Destroy All Humans!and Maneater, it helps that developers don’t leave the decision-making up to us.

“Paradoxically, you are free to go on a rampage if you do not have a choice,” said Sallman. “It does help absolve one of guilt, although in the end it’s just one factor among many.”

Make It Fun

Of course, the moral calculus of ripping and tearing through unsuspecting beachgoers, shrieking scientists and trigger-happy 1950s farmers is unimportant if it isn’t fun. If the violence is satisfying, though, players are often willing to ignore any moral qualms they might have with their role in it. But as game developers know, fun is often elusive and finding it takes up a significant portion of development time.

We often speak about video games as power fantasies, and games that cast players as the villain are fulfilling that fantasy.

“[The monster is] not exactly overpowered, but you have the feeling of being extremely powerful and [that] nothing can really stand in your way as long as you’re using the properties of the monster; all of its abilities and its physicality and the tentacles,” Chomicki said of Carrion. “You’re super powerful, and I think that sheer feeling of power and the power fantasy here is very strong, so I guess that’s what makes it fun to annihilate everything.”

Outside the realm of straightforward action, the fantasy of being able to cut through red tape–of being powerful at work–is one way of paying off more villainous dialogue choices. Patel cited these bureaucracy bolt cutters as one of the key appeals of playing Renegade in the Mass Effect series.

“Aside from the space racism Renegade answers, the rest of it is actually really fun because there’s something really liberating and cathartic to being like, ‘Well, I’m the Shepard who doesn’t deal with office politics, I’m the Shepard who says exactly what she thinks,’” Patel said.

Sallman emphasized this aspect, too; the way that games allow us to do things we couldn’t otherwise do is part of their appeal.

“Inside of a safe context, conflict and challenges are inherently fun. Just look at the stories in books, movies, and games in general,” Sallman said. “Dressing that as physical conflict, i.e. combat, is the simplest method to achieve this. We can abstract the killing in the same way as kids playing cops and robbers understand that they are not actually committing murder and larceny, and that playing chess is not war…. In the end, killing humans isn’t the fun part of the game. Killing humans is a vehicle for the fun part.”

“Just by giving the player control over the creature or the villain, you automatically kind of start being somewhat sympathetic to the character.”

For Sallman’s team, the fun was already there in the original 2005 version of Destroy All Humans!, and updating the game for modern audiences was, primarily, a process of accentuating existing elements.

“All of this was already there in the original game. We simply made Crypto and the world more responsive, enhancing the player’s capabilities and how the environment reacts to their acts of destruction,” Sallman said. “For example, something as simple as leaving scorch marks on the ground after you blasted it with the death ray.”

Sallman’s comment emphasizes an interesting truth about “finding the fun.” Fun isn’t the result of one big decision. It’s the result of small choices–like rumble or audio feedback or “scorch marks on the ground.”

Right And Wrong

While action games turn rampages into romps by making them fun and helping players empathize with otherwise-monstrous protagonists, the consequences of evil decisions are rarely as immediate, visceral, or satisfying in choice-driven RPGs. Chomicki points to this lack of immediacy as one of the challenges RPG developers face, which he was able to evade in making an action game.

“In RPGs, it’s done mostly through dialogue or at least your actions are somehow summarized through dialogue,” he said. “It’s hard to make the consequences of your evil deed feel satisfying because, unless you’re kind of a psychopath by nature, it’s hard to make you feel good about messing someone’s life up.”

Despite the fact that roleplaying games are just games, players often have a hard time deciding to do things they consider immoral. Félice van Nunspeet, assistant professor of Social, Health and Organizational Psychology at Utrecht University, said that social conditioning affects the range of choices we feel comfortable making–even in a virtual setting.

“Psychological research shows the utter importance for people to socially connect to others: to be accepted, respected, to belong to a group (or actually several groups, depending on what social identity is emphasized),” van Nunspeet said in an interview via email “‘Doing good’ is a way to become or stay part of a group, to be socially included; with ‘bad’ choices, one risks the chance of exclusion and disapproval and that hurts. Social neuroscientific research even shows that our brain responds in a similar, yet intensified, way to social exclusion versus monetary losses.”

“It’s important to note, however, that ‘doing good’ usually means people are inclined to conform to the norms of the group they want to belong to–regardless of what that normative behavior is,” van Nunspeet said. [In other words], what can be considered ‘good’ behavior in one group/from one perspective, can be considered ‘bad’ in/from another. Think, for instance, about protecting one’s own group members at the expense of others (e.g., killing enemies). If a virtual environment is where we can be the best version of ourselves, then it may be no surprise that even in such a setting people are motivated to avoid bad (behavioral) decisions that can cause disapproval from others.”

So even though video games do provide a safe place to do bad things with no real-world consequences, most players are hesitant to check their conception of right and wrong at the door. Even a longtime RPG player like Leonard Boyarsky, developer of the original Fallout, Vampire: The Masquerade – Bloodlines and The Outer Worlds, has a hard time bucking the norms when he tests one of his role-playing games.

“Speaking personally, I always have problems,” Boyarsky said on a video call last fall. “I love including the evil path, but even when I’m trying to test it I have to force myself to remember I’m testing the evil path, because my natural inclination is to want to try to go the good route.”

According to Shafer, the author of “Moral Choice in Video Games” and who, you’ll remember, had a similarly difficult time deciding to bomb Megaton, this is normal.

“I think most gamers instinctively play their avatars with a great deal of themselves projected into them,” said Shafer. “There are exceptions, of course. There are gamers who tend to be evil just to go against the grain. But yes, I would say that most people want to be good in games. We want to be heroes and act heroically. That usually involves goodness and righteousness on some level. One reason we play games is to transcend our daily lives; transcendence is an important eudaimonic response. We don’t usually want to be worse than we are in real life; we want to be better, and that is reflected in our gameplay.”

What’s The Point?

That’s unfortunate for the developers of choice-based RPGs, who often work to include just as much content paying off bad choices as good ones. But it does raise questions (and provide the opportunity to offer answers) about the role evil choices were designed to play.

“I think it’s interesting to consider: what is the point of the evil path? And sometimes I think it’s just to have a counterpoint to the more heroic path. You’re only making a choice if there’s something else available for you to do,” Patel said.

So the choices that a game offers us, ideally, will tell us something about the breadth of characters players can roleplay and something about the world that the developers have designed for us to inhabit. In Obsidian’s Tyranny for example, the player is cast as a high-ranking officer in service to a dark lord in a kingdom where evil has already won the day. As a result, players’ choices are limited to “bad” and “worse.” We understand the world, and the role that we have to play in it, through the dialogue options that are offered us.

“We don’t usually want to be worse than we are in real life; we want to be better, and that is reflected in our gameplay.”

Similarly, for Beauverger, moral choice was an opportunity to shape Vampyr players’ conception of the monster they were inhabiting. In the 2018 action role-playing game, players take on the role of Jonathan, a doctor who has been transformed into a vampire during the Spanish Flu epidemic of 1918. While the character’s morality dictates that he should “do no harm,” his newfound bloodlust tempts him to feast on the people of London. The player is incentivized, too, as they gain experience points for drinking an NPC’s blood. And, if they spend the time to get to know a character before feasting, the rewards increase.

“I believe it was easier to invite or incite the players to become mass murderers, since they are playing as a mythical creature. As bloodthirsty and killing predators, vampires traditionally also are romantic figures, much more than werewolves, zombies, or any other classical monsters,” Beauverger saud. “It is often seen as ‘cool’ to be a vampire, to lure your victim and savagely kill it in a dark alley. So we carefully crafted our game design trap: use that bias to incite the player to kill to become stronger a vampire… and then confront him [with] the consequences. But make no mistake: Jonathan isa monster, and the real fight he has to pull is against himself, and his appetite, throughout the game.”

Jonathan may well be a monster. And games will, undoubtedly, continue to entice us to follow in his footsteps. But to overcome our social conditioning, developers’ techniques will need to continue to evolve. While roleplaying games are successful at convincing us that they are telling our story–that we are the hero saving Megaton or the villain destroying it–maybe we’re better off as victims, caught in the trap as it springs.

When you think about playing Minecraft, or more specifically, the Minecraft Dungeons spinoff game, you’re probably picturing a PC or a console next to a couch. Mojang and Play Mechanix have something else in mind with Minecraft Dungeons Arcade, a full-fledged arcade cabinet designed to run a custom version of the game.

Though on the surface it’s very similar to the existing version of Minecraft Dungeons, Play Mechanix wanted the game to have the breakneck pace of a traditional arcade title. There are nine levels, with buttons for melee attacks, dodging, and ranged attacks so that newcomers can play it easily.

To make up for the lack of saving, progression is handled through physical cards that you’ll get after playing. You keep these, and when you go back to play the game again, you can scan it and access the gear. It’s almost like an Amiibo system, and you can scan up to five in total during a session, with 60 available to collect. There’s also a special card meter in the game that fills up as you collect gems. Once activated, you can deliver a devastating attack to surrounding enemies.

Minecraft Dungeons Arcade isn’t the first time Microsoft has turned one of its franchises into an arcade game. Halo: Fireteam Raven was also made with the collaboration of Play Mechanix, as well as legendary designer Eugene Jarvis’ company Raw Thrills. That was a completely separate game from the main Halo titles, however, built from the ground-up to take advantage of the arcade unit’s unique hardware.

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2021 is shaping up to be a momentous year for first-person shooter games. It marks the first year in the history of video games that there will be new mainline games for Call of Duty, Battlefield, and Halo all releasing in the same year. It’s an exciting proposition for fans of FPS games, as each franchise is currently sitting at an important stage of their respective legacies. These franchises may be considered the “old guard” of the FPS space, but each has grown and evolved in recent years to the point where all three releasing in one year is a kind of dream come true for fans and they could help the industry propel itself to new heights this year.

Call of Duty

Call of Duty has never been bigger or more popular, and this momentum is expected to continue in 2021. If history and the previous cadence of development schedules tells us anything, it is that this new game is likely coming from Sledgehammer Games. Whatever the new game is, it will be released into a vastly changed Call of Duty landscape, thanks in part to the success of the free-to-play battle royale game Warzone. Activision has said that Warzone will be the connective tissue that ties together the annual premium Call of Duty releases. So you can expect CoD 2021 to have crossover content with Warzone, with the likely bet being that weapons from CoD 2021 will come to Warzone to mix up the flavor and add a new meta. This integration did not go so smoothly with Black Ops Cold War in December, but this was an unprecedented shift, and some teething issues were always expected. Overall, however, Call of Duty is in a great place today with unified progression across Warzone and Black Ops (and later CoD 2021), free multiplayer maps, and near-constant updates and patches that change the meta regularly.

On an earnings call, Activision management said CoD 2021 is not projected to sell as well as the previous premium release, Black Ops Cold War. That makes sense, given Sledgehammer is not known for creating or developing any of the most successful Call of Duty sub-brands, and 2021 will be a difficult comparison year for every annualized franchise because sales in 2020 were bolstered significantly by the COVID-19 pandemic. That being said, CoD 2021 is still expected to be a juggernaut and will likely end the year as one of the best-selling games in the US and other parts of the world.

What’s new and noteworthy about CoD 2021 is that it represents a seismic shift for Call of Duty and Activision overall. Whereas the series once relied upon the annual premium releases, Activision now operates three tentpole Call of Duty pillars, with Warzone, Call of Duty Mobile, and the annual premium release. To support this bigger-than-ever strategy, Activision has ramped up its hiring of game developers and put multiple studios to work on the same game a la Rockstar’s strategy with its major franchises. To support its new initiatives to build games, grow them, and release content faster, Activision plans to hire 2,000 more game developers to meet its production demands, which reflects one of the company’s key business priorities: live services. Activision is trying to make Call of Duty feel alive and breathing, like every time you return to it–whether that be Warzone, CoD Mobile, or the premium game–that there is something new and fun to do–and staffing up is central to that strategy.

It’s also exciting to think about how the CoD 2021 campaign might shake things up this year, with rumors of Sledgehammer returning to World War II. 2017’s CoD: WWII focused on specific battles and events in the European theatre, including D-Day, with memorable performances turned in by the cast of characters. There are countless more stories to be told from WWII, and it will be intriguing to see what the developers choose to focus on, provided the game does indeed go back to WWII. If the game is indeed set during WWII, and if its guns and other gear come to Warzone as is expected, that could lead to a unique warfare experience as weapons, gear, and other items from across historical periods are blended together.

All told, Call of Duty is in a stronger position in 2021 than ever before, and that’s exciting to think about if you’re a fan of the franchise.

Battlefield

A new Battlefield game is coming this holiday season, and it is a very important release for EA and the teams at DICE. The publisher has been frank and honest about how Battlefield V failed to meet sales targets due in part to a marketing campaign that struggled to deliver the message about what the game was all about and why people should care. It was also behind its development schedule and needed to be delayed four weeks from October to November 2018, shifting into an ultra-competitive window that surely did not help the game sell better. Make no mistake, however, Battlefield V was no slouch. It exceeded 7 million copies sold right out of the gate, it’s just that EA had higher expectations and the publisher itself is owning up to the struggles instead of pinning them on developer DICE or any of the choices it made.

With Battlefield 6–or whatever it ends up being called–the teams at DICE took extra time. They purposefully waited an extra year to give the PS5 and Series X more time in the market–and so a lot will be riding on the new game to do well. For what it’s worth, EA CFO Blake Jorgensen recently spoke about how Battlefield 6 is progressing well ahead of its development schedule–in fact, no Battlefield game ever has been at this stage of production at this point in its development timeline, Jorgensen said. This bodes well for Battlefield 6 being locked and ready to go come Holiday 2021. We also recently learned that Criterion came aboard to help with Battlefield 6, and this is seemingly good news as the developer has a long history of working with DICE.

But what of the product itself? A full reveal of Battlefield 6 is pegged for Spring 2021, but EA has said the game will deliver “all-out military warfare” and offer the highest player counts in Battlefield history. That’s a very exciting element to consider, as Battlefield has always been the market-leader for large-scale warfare, and now they’re going even bigger. With the power of the next-gen consoles, and DICE’s consistent and impressive focus on PC, the possibilities for where Battlefield 6 could go and what it could do in terms of systems and features is a thrilling thing to think about.

A very important and unanswered question for Battlefield 6 involves its multiplayer. Its main competitors in the FPS space, Call of Duty and Halo, now offer free-to-play multiplayer experiences, so if Battlefield does not do this–either by making its multiplayer free like Halo or releasing a free spin-off like CoD: Warzone–it runs the risk of sticking out like a sore thumb.

Convincing a big enough pool of people to pay full price for a AAA FPS multiplayer experience may prove difficult in 2021. EA could try, but wth Call of Duty and Halo Infinite going down a different path, this may be a risky move. That being said, EA also operates the massively successful–and microtransaction machine battle royale game Apex Legends, so I could imagine a world where the free Apex Legends makes up the difference for Battlefield 6. If EA wants to get Battlefield back on the right path, lowering the barrier to entry with a free multiplayer experience may be the way to go, however. Clearly, there are many paths forward.

The business opportunity could be substantial as well. One of EA’s main directives going forward is building out and expanding upon its live service and microtransaction business, and free Battlefield could become another pillar in this strategy for EA, alongside Apex, the publisher’s various Ultimate Team modes for its sports games, and its rich mobile libraries.

The Battlefield series has also done a capable job of delivering solid story campaigns across its previous historical releases with Battlefield 1 and Battlefield V. But if the rumors of Battlefield 6 bringing the fight back to the modern day are true, that will deliver something fans haven’t seen since 2015’s modern-day Battlefield Hardline. There is also the matter to consider that DICE has created an entirely new studio in Los Angeles run by Respawn boss Vince Zampella that we recently learned is working on a new Battlefield experience with “crazy” ideas.

All told, Battlefield feels primed for a big comeback in 2021 with Battlefield 6.

Halo Infinite

Halo Infinite is the wildcard in the FPS space in 2021. Whereas Call of Duty and Battlefield are released at a steadier cadence and more predictable schedule, Halo hasn’t seen a mainline release since 2015’s Halo 5: Guardians. The FPS market has been transformed since then with the advent, rise, and proliferation of free-to-play and battle royale experiences, along with countless other innovations. The last time we got a new Halo game, Fortnite wasn’t even out yet. It’s a different world now when it comes to FPS, and Halo needs to adapt.

Halo 5 multiplayer is still a heck of a lot of fun, but going back to it now in 2021, it has lost some of its shine. Halo was once the true innovator in the FPS space, but it has been out of the game for so long that it will need to deliver something special and meaningful to put Halo back on track and help the franchise appeal to a new audience.

Microsoft is laying the groundwork for success. For one, the company is making Halo Infinite’s multiplayer free-to-play, which instantly sets it up to reach a wider audience and make more of an impact. Another thing is that Microsoft invested the time and resources into creating an entirely new game engine for Halo Infinite, the Slipspace Engine. It cannot be overstated how much of a big deal this is–games often use the same or similar engines for years. Microsoft’s decision to spend time and money on building an entirely new engine for Halo Infinite–one that the company says will set up the Halo franchise for success long into the future–is a reflection in the belief that Microsoft has in Halo Infinite succeeding in the market in the long term.

Because it’s been so long since Halo 5, fans of the series have likely gravitated toward other franchises and invested in other spaces, making it a tougher sell to convince them to come back and pay full price to try Halo Infinite. Going free-to-play eases that friction, and it doesn’t necessarily have negative impacts on 343’s bottom line (not that corporate revenue should be a concern for fans anyway). Couple this with the fact that Microsoft is dropping the Xbox Live Gold requirement for free-to-play games, and you have the recipe for Halo to truly break out and reclaim some of its former glory on the multiplayer side, provided the game itself is compelling enough. Free-to-play experiences are highly democractic, in that players have the power to decide the fate of a game by voting their time and money, so this incentivizes the developers to not only launch with a solid product but provide people with enough reasons to keep coming back to spend their time and money on the game.

Another major factor for Halo Infinite is that Game Pass subscribers can play it at no extra charge, which opens up the potential audience for it even more. What’s more, it’s coming to PC, which is a huge deal because, outside of The Master Chief Collection, Microsoft hasn’t released a new mainline Halo game on PC since Halo 2, which released more than a decade ago.

On the campaign front, Halo Infinite’s gameplay demo in 2020 left a lot to be desired. Microsoft acknowledged the issues and promised that the graphics would improve over time, and indeed they have. In February, Microsoft released a series of images from Halo Infinite that showcase a dramatic improvement in visual quality. It’s also heartening to learn that Halo Infinite’s story will more closely focus on Master Chief after Halo 5 split up time between him and other characters. The Halo series has legions of fans who enjoy the story, however convoluted it can become, and many are excited and eager to see where Chief goes on his next journey. While Halo has a lot of work to do to reclaim its former glory, we’ve learned over the years that it’s never a good idea to bet against Master Chief and that we should “believe.”

All in all, 2021 is shaping up to be a massive year for FPS games the likes of which we’ve never seen before. No matter what type of FPS experience you’re looking for, it seems 2021 will have something for you. And this is to say nothing of the numerous other ongoing and successful FPS games already out there such as Fortnite, Apex Legends, Destiny 2, and many more.