When Devs Say 'No Thanks': Infinity Ward Co-Founder Lifts The Lid On Activision's Wild 'Iran-Invades-Israel' CoD Pitch
AI Gaming News Author · kotaku ·
Infinity Ward co-founder Chance Glasco revealed Activision once pressured developers to create a Call of Duty game about Iran invading Israel, a controversial idea thankfully rejected by disgusted devs, highlighting a deep tension between corporate mandates and creative integrity, especially when contrasted with the studio's intent behind the infamous 'No Russian' mission.
Right, so you know how sometimes the gaming world throws up a story that makes you spill your brew? This one's a cracker, mate. It’s got corporate pressure, developer rebellion, and a dash of geopolitical absurdity that feels like it’s been plucked straight from a wizard’s botched attempt at scrying. We’re talking about Call of Duty, Activision, and a revelation that’s got me tinkering with my digital crystal ball all morning.
Turns out, Infinity Ward co-founder Chance Glasco – a name many of you will recognise from the good ol' Modern Warfare days – has pulled back the curtain on a truly bonkers chapter in CoD history. Speaking on X (and brought to our attention by a cracking piece from John Walker over at Kotaku), Glasco revealed that Activision once tried to strong-arm the developers into creating a Call of Duty game centred around Iran invading Israel. Bloody hell, right?
Now, this isn't just some random rant. Glasco’s comments popped up after the Trump White House – in a move that I reckon blurs the lines between reality and simulation in a profoundly uncomfortable way – posted a video celebrating real-world bombings in Iran, complete with Call of Duty killstreak footage. It’s the kind of thing that makes you wonder if reality itself is just a poorly balanced open-world game.
"This doesn't surprise me," Glasco wrote, reacting to the White House's frankly grotesque propaganda. He then dropped the bombshell: "I remember after Activision took over post-Respawn formation there was a very awkward pressure from Activision for us to make the next CoD about Iran attacking Israel." Just pause for a sec and let that sink in. A major publisher, allegedly pushing for a game based on such a contentious, real-world, and highly sensitive conflict. It's like asking a wizard to conjure a storm using real-world political tensions instead of, you know, magic.
The timeline Glasco points to is around 2010. This was a pretty tumultuous time, if you remember. Infinity Ward had just seen a seismic split, with co-founders Jason West and Vince Zampella getting the boot from Activision amidst allegations of 'insubordination' (which their lawyer at the time called "false and outrageous"). That whole kerfuffle led to West and Zampella taking a significant chunk of Infinity Ward's talent with them to form Respawn Entertainment, the brilliant minds behind Titanfall and Apex Legends. The remaining devs at IW, including Glasco, were left to pick up the pieces and start work on *Ghosts*. It’s into this power vacuum, this period of corporate upheaval, that Activision allegedly swooped in with this particular narrative 'suggestion'.
But here’s the kicker, the bit that gives me a flicker of optimism in this otherwise eyebrow-raising tale: it didn't happen. Glasco quickly followed up, saying, "Luckily the vast majority of our devs were disgusted by the idea and it got shot down." See? Even in the face of alleged corporate pressure, the creative spirit and moral compass of the developers held firm. It's a powerful reminder that games aren't just products; they're the result of human ingenuity and, often, a commitment to a certain vision. This wasn't about making a compelling game; it sounds more like trying to leverage current events for... well, who knows what purpose, but it certainly wasn't about pure artistic expression.
And that leads us to another fascinating insight Glasco shared in the replies to his initial post. Someone brought up the infamous 'No Russian' mission from *Modern Warfare 2*, that incredibly controversial scene where players could partake in (or simply observe) a massacre of civilians in an airport. Glasco revealed that 'No Russian' was "initially just a plot point/text on a loading screen in-between levels." But one of the designers, sensing that this was glossing over something incredibly dark and significant, pushed to make it a playable, visceral experience.
"We wanted players to feel disgust and we purposefully sought to make them actually feel bad for war," Glasco explained. He talked about focus tests where a high percentage of players froze, even put down their controllers, refusing to engage with the level. "This to me is a much better reaction than 100% of players just going Leroy Jenkins on the level with no emotion at all," he added. And you know what? He’s absolutely right.
This comparison is where things get truly interesting, isn't it? On one hand, you have developers at Infinity Ward actively striving to make war feel horrific, to evoke genuine emotion and discomfort in players through a carefully crafted, albeit controversial, moment. On the other, you have alleged corporate pressure pushing for a narrative that feels less about storytelling and more about cashing in on real-world political tensions. It’s a stark contrast between artistic intent and what appears to be commercial opportunism, perhaps even something more insidious.
What this reveals, mate, is the constant tug-of-war within big studios – the creative vision of the devs against the strategic (and sometimes questionable) directives from the publishing suits. It makes you wonder what other wild pitches got 'shot down' by level-headed developers. It's also a powerful affirmation of the role of developers as custodians of the game's message, especially when that message touches on such sensitive subjects as war and conflict.
For us gamers, it’s a peek behind the curtain, a reminder that the games we play are shaped by countless decisions, some noble, some... well, a bit dodgy. And it’s a good thing, a bloody great thing, that there are still devs out there willing to say, "Nah, we're not doing that," even when the pressure is on. It reminds us that games can, and should, aspire to more than just being digital propaganda. They can be art, they can provoke thought, and sometimes, they can even stand as a testament to creative integrity against a backdrop of corporate chaos.
Tags: CallofDuty, GameDevelopment, Activision, InfinityWard, IndustryNews
Original article: kotaku