The pace of game production may be just as harsh as the games themselves—carefully planned, promising, and then abruptly cut short. This same tension is shown by Riot Games’ decision to fire almost 80 members of the 2XKO development team less than a month after the game’s launch. The announcement, which was quietly revealed on February 9, 2026, didn’t make headlines in the conventional sense, but it undoubtedly had an impact on fighting game communities and industry circles.
For those who don’t know, Riot’s most recent creative foray was 2XKO, a bold tag-team combatant that took inspiration straight from the League of Legends environment. The game debuted on January 20 with high hopes because to its lively character animations, surprisingly smooth gameplay, and the undeniable excitement of Arcane’s fan following riding shotgun. The game, which was positioned as Riot’s next long-tail competitive series, looked exceptionally polished and captivated players on PC, Xbox Series, and PlayStation 5.
However, momentum does not necessarily follow a straight path.
| Detail | Information |
|---|---|
| Company | Riot Games |
| Project Affected | 2XKO (2v2 fighting game set in League of Legends universe) |
| Laid Off | ~80 employees (around half the 2XKO team) |
| Announcement Date | February 9, 2026 |
| Game Launch Date | January 20, 2026 |
| Reason Given | Project lacked sufficient momentum to sustain current team size |
| Severance Offered | Six months notice pay and additional severance |
| Future Plans | 2XKO Competitive Series 2026 continues; game to be improved with lean team |
| Reference Link | riotgames.com |
Internal evaluations conducted in the weeks following launch revealed that although the game had attracted a small but loyal user base, its growth was not rapid enough to support the size of its development staff. The official message was measured and calm: a smaller team that was more in line with current participation levels was needed to “re-scope” the project. Even as jobs go, the statement has become quite similar throughout game layoffs over the past few years, each one being delivered with a certain operational empathy.
This was not a retreat, though.
Riot made it clear that 2XKO was not being quietly wiped out, shelved, or abandoned. Instead, it stuck to its esports plan, which included the 2026 Competitive Series. Based on player comments, the remaining developers were asked to concentrate on improving the experience, tightening functionality, and improving gameplay. “A shift in operational strategy, not a reflection of individual performance,” as Executive Producer Tom Cannon described it. In a gaming world where perceptions tend to spread more quickly than patch notes, that distinction felt especially significant.
I couldn’t help but think of Riot’s presentation of the game during the convention circuit last year. Their approach was almost ceremonial, with developer panels that spoke passionately, player demos that made the game feel like it was already a part of a lineage, and videos that combined stylish cinematics with gameplay.
Now, half of the team had left after just a few weeks of live service.
Platitudes were not enough to send off the impacted staff. Riot provided severance benefits, six months’ notice pay, and assistance in transferring to other internal positions in some situations, according to corporate comments. That kind of attention is reassuring for a big studio, especially in a field where abrupt layoffs sometimes leave employees stranded. Care, however, does not make disturbance go away. It just makes the landing softer.
The genre Riot choose to work with adds complexity to this. Long-running series like Street Fighter, Tekken, and Mortal Kombat have long dominated the fighting game market. It takes more than just great gameplay to break into that mix; it also takes consistent innovation, cultural timeliness, and a connection built on trust with its audience. Some, but maybe not all, of those components were already included in 2XKO. Notably responsive was the core gameplay. Its roster is impressive. However, something was still developing in the loop, whether it was monetization or retention.
Riot seems to be placing more money on efficiency than growth by cutting staff now. Theoretically, a smaller, more focused team may operate more nimbly, reducing development cycles, cutting through bureaucratic drag, and reacting to community demands more quickly. We’ve seen this strategy work in other places, particularly with independent studios. This strategy, however, adds significant strain at the scale at which Riot operates: every update now has greater weight, and every community error seems magnified.
It’s also important to consider the larger context. Structural readjustments are becoming commonplace in game publishing and esport. Due to changing sponsorship environments, 100 Thieves cut positions last fall. After competition priorities changed, ESL FACEIT reduced its size. The financial ambitions of Blizzard’s Overwatch League also caused it to break up. This pattern isn’t unique; it’s a hint that film studios are reevaluating aspirations in relation to profits.
Riot’s use of 2XKO is a form of experimentation. It’s more than simply a game; it’s a cultural link between MOBA enthusiasts and the fighting mechanics’ high skill ceiling. A generation of crossover players, tournament circuits, and even products might be inspired if it is done correctly. However, it does not yet have the same gravitational attraction as League or Valorant. Although it is not lost, its position is precarious.
The game is still active for the fans who are still waiting in line for matches, watching streamers, or examining frame data. Riot’s dedication to the competitive calendar for 2026 is quite evident. The tournaments are proceeding. Cooperation with regional organizers is still ongoing. This continuity is important because it serves as a practical reminder to the community that this isn’t over, in addition to being a declaration of intent.
All of it has a subtle irony. In an effort to maintain one, a firm that has a reputation for growing its games into billion-dollar pillars is now trying to scale it down. That’s adjustment, not failure. Additionally, that adjustment period may be incredibly beneficial in many creative industries, especially gaming, as it can help teams focus again, reduce production bloat, and break free from feature creep.
