Yet Another Live-Service Game Is Shutting Down And Refunding Players

Kotaku

by Zack Zwiezen

February 23, 2026

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Yet Another Live-Service Game Is Shutting Down And Refunding Players

The gaming world has seen another live-service game bite the dust as "King of Meat," featuring high-profile endorsements from MrBeast and Geoff Keighley, along with Amazon's backing, failed to capture significant traction. Despite its star-studded launch and massive resources, the game ultimately shut down, leaving players with refunds. This outcome raises questions about the sustainability of live-service games and the challenges developers face in maintaining player interest over time. "King of Meat" was touted as a groundbreaking title, combining fast-paced action with unique mechanics. However, its reliance on microtransactions and frequent updates to sustain engagement backfired, leading to accusations of being "pay-to-win" and overly grind-heavy. Players grew disillusioned with the constant monetization tactics, which overshadowed the game's core gameplay. The lack of a strong community foundation and clear long-term vision further contributed to its decline. The shutdown of "King of Meat" highlights the risks of over-reliance on live-service models, which demand consistent content updates and player retention strategies. While big names like MrBeast and Amazon brought attention to the game initially, their involvement didn’t translate into lasting player loyalty. This serves as a cautionary tale for developers and investors in the gaming industry, emphasizing the importance of balancing monetization with meaningful gameplay experiences. For readers interested in gaming, this story underscores the challenges of maintaining long-term success in live-service environments. It also sheds light on the growing skepticism among players toward overt monetization tactics, which can ultimately harm a game's longevity. As the industry evolves, understanding these dynamics will be crucial for both creators and consumers alike.

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Originally published on Kotaku on 2/23/2026