Activision has successfully addressed long-standing matchmaking problems in some beloved Call of Duty titles for the Xbox 360. Players have been expressing frustration over the past few years, facing difficulties in finding lobbies for multiplayer modes in iconic games like Call of Duty: Black Ops and the original Call of Duty: Modern Warfare 2. However, with the recent server fixes, players are now able to enjoy these classics once again, and the player count in Call of Duty: Black Ops has soared to more than 100,000.
It appears Activision has fixed matchmaking on older Call of Duty games on Xbox 360 pic.twitter.com/eH1snzx0NI
Surprisingly, the influx of players isn’t due to a sudden resurgence of Xbox 360 consoles. Thanks to Microsoft’s backward compatibility support on Xbox, owners of Xbox One and Xbox Series S / X consoles can indulge in these timeless Call of Duty titles. All they need to do is insert the original disc or install a digital copy of the game, and they can resume their progress from over a decade ago, complete with their prestigious Call of Duty ranks.
Despite this welcome development, there are some minor challenges. Game Rant highlights issues with input latency when emulating these older games on Xbox Series S / X. However, with Microsoft’s proposed acquisition of Activision Blizzard reaching its final stages, there is hope that these input latency problems will be swiftly addressed. As speculation grows about Microsoft integrating Activision’s games into the Xbox Game Pass service, it’s intriguing to see the timing of the Call of Duty matchmaking fixes coinciding with these developments. It raises the possibility of improved gameplay experiences for fans of these cherished titles in the near future.
Microsoft has unveiled two Gears of War: E-Day Limited Edition Xbox controllers timed to the October 6th release of “Gears of War: E-Day,” and the reveal has split gamers between admiration for the design and frustration over the price.
The controller features 3D sculpted grips styled after cracked, crackling volcanic rock, paired with a bright red center panel bearing the Gears of War logo. Transparent red buttons and a matching D-pad reinforce the aggressive look, while leather-like material on the back and side grips is meant to add comfort during extended play sessions. Microsoft is also selling a matching E-Day version through Xbox Design Lab, along with a coordinating E-Day 8BitDo Ultimate charging dock. The controllers themselves carry a rated battery life of 40 hours.
Pre-orders for the Gears of War: E-Day Limited Edition controller are open now on Microsoft’s website for Xbox Series X|S, PC, and cloud gaming. The release date is set for September 30th, 2026, ahead of the game’s own launch.
Fans praise the look, question the cost
Early reaction to the controller’s design has been largely positive. One fan called it “what beauty, what art” in a post on X. A Reddit user offered similar enthusiasm, writing that they weren’t expecting to buy another Xbox controller before seeing this one. Across social media, the visual design of the controller has drawn little criticism. The disagreement centers entirely on what Microsoft is charging for it.
The controller is priced at $89.99 for pre-order, a $25 jump from the standard $64.99 price of a normal Xbox controller. That gap has driven much of the pushback online. One Reddit user reacted to the price by comparing it unfavorably to Microsoft’s Forza and Doom-themed controllers, calling the cost “insane” for a limited edition release. Another commenter argued the controller was “purely meant for collectors” and predicted most players would skip it.
Part of the frustration stems from how gamers weigh the controller’s long-term value against its price. Critics online have pointed out that $89.99 is a steep amount to spend on hardware that could develop stick drift or otherwise wear down within a few years of regular use, the same durability concerns that affect standard controllers regardless of price point.
Microsoft’s pricing for the Gears of War: E-Day controller isn’t without precedent. The company’s Forza Horizon 6 Limited Edition controller launched at the same $89.99 price point, suggesting Microsoft has settled on that figure as its standard rate for premium, game-branded controllers rather than pricing this release as an outlier.
Players unwilling to pay the premium do have other options. A range of third-party Xbox controllers offer lower price points for those looking to skip the licensed design in favor of standard functionality, though none will carry the Gears of War: E-Day branding or matching accessories Microsoft built specifically around the game’s October launch.
Whether the backlash affects actual sales remains to be seen. Limited-edition, game-branded controllers tend to draw interest primarily from collectors and dedicated fans of the franchise rather than the broader Xbox player base, a pattern that held true for previous releases like the Forza Horizon 6 edition despite similar complaints about pricing at launch. With pre-orders already live and the September 30th release date approaching, gamers weighing whether to buy will have several weeks to decide if the design justifies the added cost.
Christopher Nolan’s adaptation of The Odyssey opens in theaters this weekend, with early projections putting its opening haul between $80 million and $100 million over just a few days. Audiences are turning out to see how Nolan applies his signature filmmaking techniques to Homer’s epic. At the same time, another studio is trying to draft off that excitement to promote a very different take on the same story.
On Tuesday, film studio Fountain 0 announced an AI-generated version of The Odyssey titled “Odysseus: The Fall,” set to become available for digital rental or purchase later this summer. The project comes from director Ash Koosha, who previously worked with Fountain 0 on “Dreams of Violets,” an AI-generated docudrama about civil unrest and state violence in Iran between late 2025 and early 2026. That earlier film reportedly cost around $2,000 to produce. “Odysseus: The Fall” carries a similarly small budget, described as being in the “mid-five figures,” compared with the roughly $250 million Nolan spent making his version.
AI tools built the film’s look
The trailer for “Odysseus: The Fall” shows what Koosha built using Kling’s AI video generator and Google’s Nano Banana tool. The shots run short, and the visuals carry the glossy, slightly artificial look common to AI-generated video. Koosha modeled the character of Odysseus after his own likeness and voices every character in the film himself. Even so, the figures move and speak with a stiffness that makes them read as clearly AI-made rather than human performances.
Fountain 0’s timing makes its intentions fairly clear. Releasing an AI-made Odyssey adaptation the same summer as Nolan’s big-budget version gives the company a way to market its production technology while offering what amounts to a low-cost alternative to a film people are already anticipating. Fountain 0’s executive chairman, Tom Rogers, told Variety that the project targets people who might not “like going to the movie theaters, but have a real interest in AI and what’s going on.”
That framing positions “Odysseus: The Fall” less as an independent artistic take on Homer’s story and more as a demonstration of Fountain 0’s AI production process.
A comparison Rogers seems eager to invite
Rogers went further, suggesting the release of his company’s film could actually drive interest in Nolan’s version. “We actually think, when our film is released, that it will be a catalyst for a lot of people who might not otherwise have seen the Odyssey to hopefully go see it, so they can compare the state of the highest state of human filmmaking achievement, which I truly expect the reviews to suggest Nolan’s film is, with what the top state of the art is in AI filmmaking today,” he said.
Rogers stopped short of claiming his film could compete with Nolan’s on quality. Instead, he framed Fountain 0’s work as representative of what AI-driven filmmaking can currently achieve. Whether that claim holds up is a separate question. “Dreams of Violets” plays like a sequence of individually generated clips strung together, and it’s difficult to imagine audiences who pay for movie tickets finding that comparison flattering to Fountain 0.
What Nolan’s film has that AI hasn’t matched
Nolan’s “The Odyssey” reflects the work of hundreds of people collaborating across departments, from cinematography to production design to sound. Fountain 0 has emphasized that Koosha and his brother Pooya handled most of the work on “Odysseus: The Fall” themselves, treating that as a selling point. But a small production team isn’t typically what draws audiences into theaters.
There was at least an argument, however debatable, that “Dreams of Violets” served a documentary purpose by drawing attention to human rights violations in Iran. “Odysseus: The Fall” doesn’t have that same justification. It reads more as a marketing exercise for Fountain 0’s AI capabilities than an attempt to say something new about Homer’s story.
Part of a wider pattern
Other AI ventures have made similar moves recently. ElevenLabs released an AI-narrated audiobook version of “The Odyssey” using a synthetic voice modeled on Michael Caine. Separately, studio and startup Particle6 has spent months promoting “Tilly Norwood,” an AI-generated performer it describes as an “AI actress,” and recently announced plans for a feature-length film built around the character.
Fountain 0 and Particle6 appear to share a strategy: generate attention through novelty and controversy first, then hope that visibility translates into acceptance as legitimate entertainment products. What both companies seem to miss is that audience enthusiasm for a film like Nolan’s “The Odyssey” comes specifically from the collaborative, human-driven process behind it, the thing their AI-generated alternatives are explicitly designed to skip.
Human filmmaking still drives the conversation
The mix of strong praise and sharp criticism directed at Nolan’s film reflects his skill at making work that provokes real emotional reactions from audiences. Those reactions fuel the discussions and debates that get people buying tickets, which in turn keeps studios like Universal financially invested in big theatrical releases.
Generative AI’s advocates have promised for years that the technology will reshape entertainment. So far, none of their releases have generated anything close to the anticipation surrounding Nolan’s adaptation. Based on what Fountain 0 and similar companies have shown, that gap isn’t likely to close through marketing stunts timed to piggyback on someone else’s release.
