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I push past a group of brownshirts threatening a Jewish shopkeeper. They're holding placards that read "Don't buy from the Jews!" and accusing the owner of being a parasite on the German community. The woman inside cringes as I enter the shop and warns me the men outside won't like it if I buy anything. But I insist and hand her my grocery list. At the end of the exchange I have three dialogue options: "There will be better times ahead," "I'm so sorry," and "I don't know what to say." All of them feel devastating and inadequate.

When you're one person trying to resist the Nazi juggernaut in 1930s Germany, your best course of action is not at all obvious; indeed, anything you choose to do can often feel futile. There were so many occasions during Through the Darkest of Times that I questioned whether I was doing the right thing or if anything I did could even make a difference. Frequently, I simply didn't know what to say. All I knew was that I had to keep fighting, keep surviving, keep resisting, and hope that it would be enough.

Through the Darkest of Times is billed as a historical resistance strategy game and plays out akin to a kind of narrative boardgame as you lead a band of as many as five freedom fighters against the Reich. Its story begins in 1933 as Hitler's appointment as Chancellor confirms the Nazi party's seizure of power. The four-act structure skips ahead to 1936 and the Berlin Olympics, to the occupation of France and invasion of the Soviet Union in 1941, and to the final months of the war, before a brief epilogue in 1946, a year after the Allied victory. The time periods it visits chart an emotional journey that feels authentic: Disbelief gives way to anger and fear as the truth about the Nazis' goals is revealed; suffering and grief lead to the steeling of a righteous fury; and finally, glimpses of cautious optimism are tempered by an uncertain future.

Each turn you play your hand, as it were, assigning resistance members to undertake missions across a map of Berlin. After ending a turn you see the results come in: Charlotte managed to get those leaflets printed; Arthur collected donations down at the factory but may have been spotted by the authorities; Gerhard was arrested while painting slogans on the campus walls. You're managing assets and resources--we need two people for this job, a truck and some explosives for that job--and getting the logistics in order becomes the primary focus. Always the director of operations, never the operative.

Strategic decisions are forced through scarcity. A 20-turn limit is applied during each act, which is nowhere near enough time to do every available mission. Major missions often have plenty of prerequisites, too. If you want to eventually bust a group of prisoners out of a torture camp, you're going to need some brownshirt uniforms, and to get those you're first going to have to do a recon mission. Constant is the pressure to stop and think about what you realistically have the time and resources to accomplish.

Throwing a spanner in the works, certain actions can also trigger new missions that might only be available for a handful of turns. Can you afford to spare someone to tackle a side mission without disrupting your main goal? Meanwhile, you're now running low on funds to get those books printed, so Angelika is probably going to have to ignore that meeting with a British Secret Service contact and instead try to steal new funds from the SA, the Nazi militia. The decisions swiftly pile up over the course of 20 turns and with them comes a growing anxiety that there simply aren't enough turns to get anything done.

At times I felt like I was drowning. Aside from a few narrative threads that run through the whole game, and your early choices flowing on accordingly, the start of each act essentially resets the strategic layer. You keep your recruited members and their gained experience, but all your resources--your money, all that paper and paint you'd bought, that precious intel, the medicine, gasoline, bicycles, and so on--are returned to square one. So you've got to build it all up again. With each reset, and, indeed, even on a second playthrough, I'd begin with a clear head, pick one specific goal and tell myself that was my sole focus. But every time, without fail, by halfway through I'd find myself pulled this way and that, only able to partially complete a few mission chains but never managing to pull off something big. It's immensely frustrating, that feeling of there simply not being enough hours in the day to get it all done. Looming over it, the knowledge of all that partial progress going to waste and ultimately counting for nought.

It wasn't just me feeling this way. The members of my resistance movement, as they met up each week to discuss their next moves, would also find themselves experiencing a similar sensation of despair. Peter would fret about whether they were doing enough. Juliane would worry that the situation was hopeless. I found it reassuring that I wasn't the only one struggling to find the motivation to continue.

Away from the dry mechanics of the strategic layer, it was during these narrative interludes in between turns that I truly connected with the plight of the German people. One day Rosalinde found out her brother had joined the SA. She was despondent, but I was able to encourage her to take advantage of this and get information out of him. A few weeks later she raised fears that her brother now suspected her of being a resistance member and I had a choice: tell her to leave the group for her own safety or force her stay. The brother had inadvertently given us valuable intel, but I'd grown to care for Rosalinde and couldn't bear the thought of her being discovered. Reluctantly, I asked her to leave.

On a second playthrough, I decided to run a more ruthless ship, to be the type of revolutionary who would stop at nothing. So when Lotte told me she was pregnant and wanted out in order to protect her imminent child, I demanded she remained with us. Morale in the group plummeted and, one day, Lotte just never showed up for the resistance meeting. Later I discovered she'd lost her baby and fled. It stung, of course, though I was able to coldly characterise her exit as a betrayal of the cause, thanks to the flexibility of the dialogue choices offered during these scenes.

Given the particulars of the premise--you're absolutely not doing anything other than fighting back against the Nazis here--I was pleasantly surprised to see how different choices I'd made across two playthroughs could shape two such wildly different personalities. The strategic layer seems readymade for replays, as you strive for efficiency to reach those end goals, but I was initially worried that the story scenes wouldn't withstand repetition. To an extent, that is the case, and on my second playthrough I found myself fast-clicking through conversations I'd already seen. But making different choices allowed me to interpret our struggle in a new light, and as a result, grow attached to a second collection of otherwise randomly-generated characters.

The tone is bleak, as you'd expect, almost unrelenting in its horror. A trip to a camp where the Nazis have rounded up Berlin's Romani population is grim, especially when you witness children being separated from their parents by brownshirts and taken away for unexplained medical reasons. I met a Russian woman who had escaped a massacre on the Eastern Front and made it to Berlin. She told me of the German army's scorched-earth approach in the east, of the mass graves and hangings of Russian civilians. It was heart-wrenching and, at times, almost too much to handle.

Yet there is some respite. Angelika got married and we celebrated with a party in the park. We managed to track down Monica's missing husband and reunite her family. Even as I fled to an underground train station to find shelter from an air raid, I was able to stop and help a Jewish man who was trying to hide the star on his coat that would preclude him from accessing the shelter. Such moments of community, of kindness, of hope that there's still something worth fighting for, are peppered throughout Through the Darkest of Times, seemingly appearing just when the desperation of the strategic layer had left me at my lowest ebb.

The twin aspects of the game could be better integrated. The narrative scenes are vividly realized despite the minimal presentation, often profoundly moving, and filled with choices that carry weight that can be felt weeks and occasionally years later. But outside the story interludes, there's a frustrating lack of specificity. You distribute "leaflets" and paint "slogans" and smuggle "books" and recover "intel," but none of it is described in any detail. The content is void on the strategic side, its components reduced to mechanical symbols. True, there is some overlap--a story scene might prompt a new mission on the map--but it's all one-way traffic, and your choices in one sphere are of disappointingly little consequence to the other.

Through the Darkest of Times paints what feels like an accurate portrait of life in Nazi Germany. Cherry-picking major events, like the Reichstag Fire or the opening ceremony of the Olympics, it convincingly places you at the scene, putting you in the shoes of a regular German trying to come to grips with how one person--or even five people--can respond in the presence of evil. It depicts everyday life, and everyday people, both those seduced by ideology and those finding the strength to rally against it. I'm not sure it offers any answers--indeed, I suspect my frustrations with futility were intentional. One person alone can't change the world. But that's no reason not to fight for it.

It’s human nature to be curious about what seemingly mundane and inanimate things get up to while we’re not looking. Such thinking spawned mythos like fairies in people’s gardens, borrowers, and the Toy Story saga, and now we come to street signs. What do those little human figures get up to when no-one is around? If The Pedestrian is to be believed, the answer is 2D platforming, solving lots and lots of puzzles, and taking control of electrical devices in an attempt to escape their confines.

In taking control of a human figure (either with or without a dress) your adventure in The Pedestrian is mostly confined to various street signs, blueprints, and other 2D surfaces. In the background, blurred into obscurity, are the beautiful 3D landscapes of the world they exist in. You can run, jump, and climb with light platforming maneuvers to get to new areas, but the crux of The Pedestrian's puzzling comes from the ability to zoom out and rearrange the positions of the 2D signs and flat surfaces, creating doorways and new paths. Once you regain control of the person symbol, you can then use these new doorways to access the other signs to complete puzzles and move forward. Rearranging the playing field adds a layer of complexity that will have you thinking about obstacles in two different ways for the majority of the experience.

There’s a satisfaction in ordering the panels of a level in your own way, which then allows you to jump back in and complete the puzzle. The process is not totally freeform, as doors and ladders on one panel will only connect to those on another if they are properly aligned, and there are often obstacles in the way that might impede a certain way of doing things. However, there's definitely a very godlike feel to the control it gives you. Occasionally my solutions felt so chaotic that I wondered if they were the intended direction; other times the puzzles felt intentionally crafted to lead me to certain results. But there is overall a nice feeling that you are figuring out things on your own, in your own way.

Extra difficulty lies in the fact that you can’t make most changes to the arrangement of your 2D platforming world without resetting other things--activated switches will deactivate, and key items will be lost, so you need to go in with a plan. Sometimes resetting is necessary, especially if you hit a dead-end, but later you'll be able to freeze some signs to prevent them from resetting, keeping the elements there active for your next attempt. The concept moves you to start thinking about puzzles in a way that's almost akin to time travel. Having to manage a puzzle board full of different segments filled with switches, keys, and laser beams, among other things, and then literally having to manage time and space to reach a goal provides some surprisingly challenging and satisfying scenarios.

The Pedestrian serves out these scenarios in bite-sized pieces. Even when presented with a larger puzzle, it’s still broken down into several smaller sections, which certainly makes them easier to comprehend. However, because of this structure, The Pedestrian can begin to feel a little too samey, especially when the reward for completing a puzzle is almost always more puzzles. It works very well as a game to spend half an hour with and then return to later, rather than slog out the whole four-hour duration in one unending sign barrage. I’d often find myself leaving it due to puzzle fatigue or being a little stuck, then come back to it later with renewed inspiration to immediately solve the troublesome puzzle, ready for a little more.

The introduction of new concepts and escalation in difficulty are gently paced, and only when new elements are first added does it really ever feel daunting--some of the puzzles I spent the longest on were just working out exactly how a new mechanic worked or could be used since the game doesn’t often provide much direction. Instead, the Pedestrian then gives you plenty of opportunities to explore and understand new features in subsequent levels and encourages you to work things out for yourself. The initial frustration is always made up for by the enhanced understanding and satisfaction of working it out on your own. It also ensured I completely grasped all the concepts, which allowed me to then solve increasingly difficult puzzles I’m sure I would have been stumped by otherwise. The payoff for making me feel stupid for one puzzle allowed me to feel incredibly smart for many other harder challenges.

There’s a real freshness to The Pedestrian's take on puzzle-platforming and world manipulation. The constant introduction of new, sometimes surprisingly complex ideas means there’s enough to keep you moving through the nicely segmented challenges. The levels themselves can be quite repetitive in both look and feel, making the game tiresome during long play sessions, but it lends itself well to short-burst experiences and never lets you feel too lost. The Pedestrian executes its charming premise well, with just enough complexity to keep your brain pleasantly stimulated.

I push past a group of brownshirts threatening a Jewish shopkeeper. They're holding placards that read "Don't buy from the Jews!" and accusing the owner of being a parasite on the German community. The woman inside cringes as I enter the shop and warns me the men outside won't like it if I buy anything. But I insist and hand her my grocery list. At the end of the exchange I have three dialogue options: "There will be better times ahead," "I'm so sorry," and "I don't know what to say." All of them feel devastating and inadequate.

When you're one person trying to resist the Nazi juggernaut in 1930s Germany, your best course of action is not at all obvious; indeed, anything you choose to do can often feel futile. There were so many occasions during Through the Darkest of Times that I questioned whether I was doing the right thing or if anything I did could even make a difference. Frequently, I simply didn't know what to say. All I knew was that I had to keep fighting, keep surviving, keep resisting, and hope that it would be enough.

Through the Darkest of Times is billed as a historical resistance strategy game and plays out akin to a kind of narrative boardgame as you lead a band of as many as five freedom fighters against the Reich. Its story begins in 1933 as Hitler's appointment as Chancellor confirms the Nazi party's seizure of power. The four-act structure skips ahead to 1936 and the Berlin Olympics, to the occupation of France and invasion of the Soviet Union in 1941, and to the final months of the war, before a brief epilogue in 1946, a year after the Allied victory. The time periods it visits chart an emotional journey that feels authentic: Disbelief gives way to anger and fear as the truth about the Nazis' goals is revealed; suffering and grief lead to the steeling of a righteous fury; and finally, glimpses of cautious optimism are tempered by an uncertain future.

Each turn you play your hand, as it were, assigning resistance members to undertake missions across a map of Berlin. After ending a turn you see the results come in: Charlotte managed to get those leaflets printed; Arthur collected donations down at the factory but may have been spotted by the authorities; Gerhard was arrested while painting slogans on the campus walls. You're managing assets and resources--we need two people for this job, a truck and some explosives for that job--and getting the logistics in order becomes the primary focus. Always the director of operations, never the operative.

Strategic decisions are forced through scarcity. A 20-turn limit is applied during each act, which is nowhere near enough time to do every available mission. Major missions often have plenty of prerequisites, too. If you want to eventually bust a group of prisoners out of a torture camp, you're going to need some brownshirt uniforms, and to get those you're first going to have to do a recon mission. Constant is the pressure to stop and think about what you realistically have the time and resources to accomplish.

Throwing a spanner in the works, certain actions can also trigger new missions that might only be available for a handful of turns. Can you afford to spare someone to tackle a side mission without disrupting your main goal? Meanwhile, you're now running low on funds to get those books printed, so Angelika is probably going to have to ignore that meeting with a British Secret Service contact and instead try to steal new funds from the SA, the Nazi militia. The decisions swiftly pile up over the course of 20 turns and with them comes a growing anxiety that there simply aren't enough turns to get anything done.

At times I felt like I was drowning. Aside from a few narrative threads that run through the whole game, and your early choices flowing on accordingly, the start of each act essentially resets the strategic layer. You keep your recruited members and their gained experience, but all your resources--your money, all that paper and paint you'd bought, that precious intel, the medicine, gasoline, bicycles, and so on--are returned to square one. So you've got to build it all up again. With each reset, and, indeed, even on a second playthrough, I'd begin with a clear head, pick one specific goal and tell myself that was my sole focus. But every time, without fail, by halfway through I'd find myself pulled this way and that, only able to partially complete a few mission chains but never managing to pull off something big. It's immensely frustrating, that feeling of there simply not being enough hours in the day to get it all done. Looming over it, the knowledge of all that partial progress going to waste and ultimately counting for nought.

It wasn't just me feeling this way. The members of my resistance movement, as they met up each week to discuss their next moves, would also find themselves experiencing a similar sensation of despair. Peter would fret about whether they were doing enough. Juliane would worry that the situation was hopeless. I found it reassuring that I wasn't the only one struggling to find the motivation to continue.

Away from the dry mechanics of the strategic layer, it was during these narrative interludes in between turns that I truly connected with the plight of the German people. One day Rosalinde found out her brother had joined the SA. She was despondent, but I was able to encourage her to take advantage of this and get information out of him. A few weeks later she raised fears that her brother now suspected her of being a resistance member and I had a choice: tell her to leave the group for her own safety or force her stay. The brother had inadvertently given us valuable intel, but I'd grown to care for Rosalinde and couldn't bear the thought of her being discovered. Reluctantly, I asked her to leave.

On a second playthrough, I decided to run a more ruthless ship, to be the type of revolutionary who would stop at nothing. So when Lotte told me she was pregnant and wanted out in order to protect her imminent child, I demanded she remained with us. Morale in the group plummeted and, one day, Lotte just never showed up for the resistance meeting. Later I discovered she'd lost her baby and fled. It stung, of course, though I was able to coldly characterise her exit as a betrayal of the cause, thanks to the flexibility of the dialogue choices offered during these scenes.

Given the particulars of the premise--you're absolutely not doing anything other than fighting back against the Nazis here--I was pleasantly surprised to see how different choices I'd made across two playthroughs could shape two such wildly different personalities. The strategic layer seems readymade for replays, as you strive for efficiency to reach those end goals, but I was initially worried that the story scenes wouldn't withstand repetition. To an extent, that is the case, and on my second playthrough I found myself fast-clicking through conversations I'd already seen. But making different choices allowed me to interpret our struggle in a new light, and as a result, grow attached to a second collection of otherwise randomly-generated characters.

The tone is bleak, as you'd expect, almost unrelenting in its horror. A trip to a camp where the Nazis have rounded up Berlin's Romani population is grim, especially when you witness children being separated from their parents by brownshirts and taken away for unexplained medical reasons. I met a Russian woman who had escaped a massacre on the Eastern Front and made it to Berlin. She told me of the German army's scorched-earth approach in the east, of the mass graves and hangings of Russian civilians. It was heart-wrenching and, at times, almost too much to handle.

Yet there is some respite. Angelika got married and we celebrated with a party in the park. We managed to track down Monica's missing husband and reunite her family. Even as I fled to an underground train station to find shelter from an air raid, I was able to stop and help a Jewish man who was trying to hide the star on his coat that would preclude him from accessing the shelter. Such moments of community, of kindness, of hope that there's still something worth fighting for, are peppered throughout Through the Darkest of Times, seemingly appearing just when the desperation of the strategic layer had left me at my lowest ebb.

The twin aspects of the game could be better integrated. The narrative scenes are vividly realized despite the minimal presentation, often profoundly moving, and filled with choices that carry weight that can be felt weeks and occasionally years later. But outside the story interludes, there's a frustrating lack of specificity. You distribute "leaflets" and paint "slogans" and smuggle "books" and recover "intel," but none of it is described in any detail. The content is void on the strategic side, its components reduced to mechanical symbols. True, there is some overlap--a story scene might prompt a new mission on the map--but it's all one-way traffic, and your choices in one sphere are of disappointingly little consequence to the other.

Through the Darkest of Times paints what feels like an accurate portrait of life in Nazi Germany. Cherry-picking major events, like the Reichstag Fire or the opening ceremony of the Olympics, it convincingly places you at the scene, putting you in the shoes of a regular German trying to come to grips with how one person--or even five people--can respond in the presence of evil. It depicts everyday life, and everyday people, both those seduced by ideology and those finding the strength to rally against it. I'm not sure it offers any answers--indeed, I suspect my frustrations with futility were intentional. One person alone can't change the world. But that's no reason not to fight for it.

It’s human nature to be curious about what seemingly mundane and inanimate things get up to while we’re not looking. Such thinking spawned mythos like fairies in people’s gardens, borrowers, and the Toy Story saga, and now we come to street signs. What do those little human figures get up to when no-one is around? If The Pedestrian is to be believed, the answer is 2D platforming, solving lots and lots of puzzles, and taking control of electrical devices in an attempt to escape their confines.

In taking control of a human figure (either with or without a dress) your adventure in The Pedestrian is mostly confined to various street signs, blueprints, and other 2D surfaces. In the background, blurred into obscurity, are the beautiful 3D landscapes of the world they exist in. You can run, jump, and climb with light platforming maneuvers to get to new areas, but the crux of The Pedestrian's puzzling comes from the ability to zoom out and rearrange the positions of the 2D signs and flat surfaces, creating doorways and new paths. Once you regain control of the person symbol, you can then use these new doorways to access the other signs to complete puzzles and move forward. Rearranging the playing field adds a layer of complexity that will have you thinking about obstacles in two different ways for the majority of the experience.

There’s a satisfaction in ordering the panels of a level in your own way, which then allows you to jump back in and complete the puzzle. The process is not totally freeform, as doors and ladders on one panel will only connect to those on another if they are properly aligned, and there are often obstacles in the way that might impede a certain way of doing things. However, there's definitely a very godlike feel to the control it gives you. Occasionally my solutions felt so chaotic that I wondered if they were the intended direction; other times the puzzles felt intentionally crafted to lead me to certain results. But there is overall a nice feeling that you are figuring out things on your own, in your own way.

Extra difficulty lies in the fact that you can’t make most changes to the arrangement of your 2D platforming world without resetting other things--activated switches will deactivate, and key items will be lost, so you need to go in with a plan. Sometimes resetting is necessary, especially if you hit a dead-end, but later you'll be able to freeze some signs to prevent them from resetting, keeping the elements there active for your next attempt. The concept moves you to start thinking about puzzles in a way that's almost akin to time travel. Having to manage a puzzle board full of different segments filled with switches, keys, and laser beams, among other things, and then literally having to manage time and space to reach a goal provides some surprisingly challenging and satisfying scenarios.

The Pedestrian serves out these scenarios in bite-sized pieces. Even when presented with a larger puzzle, it’s still broken down into several smaller sections, which certainly makes them easier to comprehend. However, because of this structure, The Pedestrian can begin to feel a little too samey, especially when the reward for completing a puzzle is almost always more puzzles. It works very well as a game to spend half an hour with and then return to later, rather than slog out the whole four-hour duration in one unending sign barrage. I’d often find myself leaving it due to puzzle fatigue or being a little stuck, then come back to it later with renewed inspiration to immediately solve the troublesome puzzle, ready for a little more.

The introduction of new concepts and escalation in difficulty are gently paced, and only when new elements are first added does it really ever feel daunting--some of the puzzles I spent the longest on were just working out exactly how a new mechanic worked or could be used since the game doesn’t often provide much direction. Instead, the Pedestrian then gives you plenty of opportunities to explore and understand new features in subsequent levels and encourages you to work things out for yourself. The initial frustration is always made up for by the enhanced understanding and satisfaction of working it out on your own. It also ensured I completely grasped all the concepts, which allowed me to then solve increasingly difficult puzzles I’m sure I would have been stumped by otherwise. The payoff for making me feel stupid for one puzzle allowed me to feel incredibly smart for many other harder challenges.

There’s a real freshness to The Pedestrian's take on puzzle-platforming and world manipulation. The constant introduction of new, sometimes surprisingly complex ideas means there’s enough to keep you moving through the nicely segmented challenges. The levels themselves can be quite repetitive in both look and feel, making the game tiresome during long play sessions, but it lends itself well to short-burst experiences and never lets you feel too lost. The Pedestrian executes its charming premise well, with just enough complexity to keep your brain pleasantly stimulated.

Blizzard's president has acknowledged that it's been a tough week for the developer following the launch of Warcraft 3: Reforged due to the criticism from the community the game received.

During the Activision Blizzard earnings call held on February 6, 2020, Blizzard president J. Allen Brack answered a question about the criticism that Warcraft 3: Reforged drew from players since its launch on January 28, 2020.

"Honestly, it's been a bit of a hard week," Brack said. "Our community has come to expect really amazing things from us, and we've heard from them that we did not achieve that bar."

[ignvideo url="https://www.ign.com/videos/2020/02/05/warcraft-3-reforged-review"]

Warcraft 3: Reforged was criticised by players for a number of reasons. Cutscenes don't feature cinematic camera angles that were promised, some have reported connectivity issues, while others are disappointed at the lack of a competitive ladder.

Another issue is a change to Blizzard's End User License Agreement that gives Blizzard complete copyright of custom games made in Reforged. If anyone comes up with a great game idea in Reforged then they aren't able to take it out of there and turn it into a standalone game without Blizzard's permission.

"But we stand behind our games, and have consistently shown that not only do we support them, but we continue to build on them even after launch, and we're committed to doing that here as well," Brack continued. "And so we're going to continue to update the game, and we'll continue to update the community with our plans going forward."

Warcraft 3: Reforged received its first post-launch update today, which comes in at 2GB in total. However, it doesn't make any huge changes to the game, mostly fixing bugs and addressing some issues with the game's Classic mode.

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Blizzard has also changed its refund policy for Warcraft 3: Reforged, at least for now. Rather than having to wait for Blizzard to review each refund application, players can now ask for a refund through the support system and get it automatically, or near enough.

We gave the game a 7 in our Warcraft 3: Reforged review, saying that it's "an uninspiring remaster, but Warcraft 3 itself is still a great game nearly two decades later."

Chris Priestman is a freelancer who writes news for IGN. Follow him on Twitter.

Call of Duty: Modern Warfare players are spending more money in-game than Black Ops 4 players either due to or despite the removal of the season pass and loot boxes.

During Activision's Q4 earnings call on February 6, 2020, company president Rob Kostich answered a question about how removing the season pass for Call of Duty: Modern Warfare has affected player behaviour and in-game revenue.

[ignvideo url="https://www.ign.com/videos/2019/10/17/battle-pass-in-loot-boxes-out-in-call-of-duty"]

Kostich begins by saying it's important to acknowledge that removing the season pass for Modern Warfare was part of a number of changes Activision made "to create a better overall experience for our player community." The other changes he mentioned were bringing in cross-play and cross-progression.

He adds that with the launch of Call of Duty: Mobile last year, Activision is treating all Call of Duty players across all platforms as a singular community. "Instead of certain portions of the audience having certain content, we're focused now on free content for the entire community, to drive engagement with the overall community," Kostich said.

He then talked about how removing the season pass and loot boxes and replacing those systems with the battle pass in Modern Warfare enabled more transparency to players so they can see what their money goes towards. That, he says, has worked out really well, as evidenced in a "double-digit percentage" growth for in-game spending in Modern Warfare over Black Ops 4.

"We're looking at engagement and we're looking at daily average uniques, our engagement is up significantly year over year. That's really great for us to see so many people playing and enjoying this fantastic game," Kostich said.

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"And then on the player investment side, I'd say fans certainly seem to be appreciating the new system quite a bit. We mentioned the growth year on year, but one other thing I might add is that we're also seeing an increase in attach rates in-game to the new system. Which I think is a very, very positive sign for it."

Activision also confirmed during the earnings call that there will be a new Call of Duty game in 2020 but didn't announce who the developer is yet. Our Call of Duty: Modern Warfare review gave the game an 8.2 and said it has "the best CoD campaign in nearly a decade, thanks to fast pacing and great variety."

Chris Priestman is a freelancer who writes news for IGN. Follow him on Twitter.