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Call of Duty: Black Ops Cold War will be announced through the battle royale game Warzone on August 26, and now we know exactly when the reveal will happen.

The Call of Duty Twitter account posted a teaser today that confirms the timing of the announcement–10:30 AM PT. That works out 1:30 PM in New York and 6:30 PM in London. In Japan, it’ll be at 2:30 AM, and in Sydney the reveal will take place at 3:30 AM.

The teaser, which you can see below, shows the opening to a Warzone match before cutting out. The enduring rumor is that Warzone’s map, Verdansk, will be overhauled to give it a Cold War style and tone to reflect the new Call of Duty game.

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Hitman III developer IO Interactive recently announced that the PlayStation versions of the game will get a PSVR mode, letting you play through each location in first-person virtual reality. While there’s been some question of how the game would translate to VR, since so much of the game’s stealth involves costume changes and situational awareness, IO Interactive has released a single, short GIF that really sells the concept.

You can see the GIF in the tweet below. It shows 47 tapping a man on the shoulder with a crowbar before whacking him in the face with it as he turns around. It’s a perfect encapsulation of Hitman’s extremely dark sense of humor, albeit a bit more slapstick than usual–as is befitting of VR.

This seems to be taken from the Sapienza level from the first season of Hitman, at the inside front gate to the De Santis estate.

The Twitter account has shared a few other GIFs from the game’s new VR mode since it was announced, showing 47 relaxing and firing blind around corners.

A new location from the third game, the Thornbridge Manor, was recently shown off. IO Interactive has also detailed how Elusive Targets, Escalation missions, and Contract modes will be overhauled in the future.

Hitman III releases for PS5, PS4, Xbox Series X, Xbox One, and PC on January 21, 2021. The VR mode will launch exclusively for PSVR users.

A recently approved PS5 DualSense patent suggests that Sony’s next-gen controller may one day be able to identify specific users simply by how they are holding it.

As reported by SegmentNext (via VGC), this patent describes a system that would use DualSense’s sensors, including its gyroscope and accelerometer, to gather telemetry data to track the controller’s position, orientation, and properties “such as the maximum velocity, minimum velocity or mean velocity of the controller for a given time, such as 60 seconds for example.”

If a match is found by the controller, it would prompt the user to accept or reject the detected profile. This patent looks to solve the issue of having to manually log into multiple accounts and provide a more seamless experience.

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This patent isn’t strictly limited to the DualSense, however, as it also indicates this technology could work with other devices like the DualShock controller, Move Motion controllers, PSVR Headset, and more.

It’s important to note that patents are filed by companies all the time, and this specific filing does not guarantee this will make it to PS5 owners around the world.

Other recent patents filed by Sony include one that gives a glimpse of what the PS5 UI could look like, an AI tool that could help players if they are stuck in a game, a cloud system to play PS1, PS2, and PS3 games, and more.

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Have a tip for us? Want to discuss a possible story? Please send an email to newstips@ign.com.

Adam Bankhurst is a news writer for IGN. You can follow him on Twitter @AdamBankhurst and on Twitch.

The Unfinished Swan, a classic PS3/PS4/Vita puzzle game about splashing paint around a barren environment, might be getting a follow-up. At least, that’s what fans are speculating after a cryptic tweet from publisher Annapurna Interactive.

The Unfinished Swan was developed by Giant Sparrow, which went on to create What Remains of Edith Finch. The two games are explicitly connected, although explaining how would be a spoiler. Edith Finch was published by Annapurna Interactive, and the company has now tweeted out a picture of a paint splash from The Unfinished Swan.

You can see it below. Despite the image just consisting of a black paint splash, The Unfinished Swan’s style was distinctive enough that we have no doubt it’s a reference to that game.

The game was published by Sony, and was thus exclusive to PS3, PS4, and PS Vita. It could be that Annapurna has the rights to port the game to new systems; it could be that they have the rights to a sequel. While some have noted that the tweet was published from an iPhone, which could be a sign of a mobile port, it’s worth noting that many of the account’s tweets are made from the iPhone Twitter client.

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Netflix has released a trailer for Dragon’s Dogma, the anime adaptation of Capcom’s RPG of the same name. The show is coming to the streaming service on September 17.

As with the game, it looks like the protagonist will be the “Arisen”, although here, he’s called Ethan. The Arisen has had his heart stolen by a dragon, his family has been murdered, and he’s out for vengeance. As with the game, Ethan has a “pawn” travelling with and protecting him–her name is Hannah, who fans of the game might recognize as a companion character. The trailer also hints at a dark side emerging within Ethan as he’s consumed by his mission.

You can watch the trailer below. The anime seems to use a 3D animation style for its characters. The series is being handled by animation studio Sublimation, the studio behind zombie anime movie Walking Meat.

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Grand Theft Auto V is a game with many paranormal and alien secrets, and more continue to come to its Online mode over time. A group of dataminers have found evidence of a new alien spacecraft in the game, and activated a mission that has been added to the game’s files but is not properly accessible yet.

Kotaku has reported on the Fort Zancudo UFO Business Battle, which was uncovered by The Game File Gurus. The mission, which quietly slipped into the game’s code alongside the Summer Special update, involves breaking into the hanger the UFO is being stored in and stealing spaceship parts.

You can watch the mission–which likely isn’t in its final form–in the video from The Game File Gurus below.

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Next Stop Nowhere gets off to a promising start. You play as Beckett, a sci-fi courier who pilots a spacecraft and is best friends with an AI program. While visiting a bar, he meets Serra, and gets embroiled in her family drama when he learns that she’s trying to track down her wayward thief son before the authorities can get to him. The game is framed as a sort-of road trip through space, where the choices you make will change how the story plays out. At first, the charming characters and intriguing plot are enough to pull you from one location to the next. But unfortunately, a lack of meaningful consequence and a plethora of horrific bugs make for a trip not worth taking.

Next Stop Nowhere is, by design, a very simple game. You guide Beckett by touching where you want him to go, and the points you can interact with in each map are highlighted with big white circles. There are, essentially, no puzzles–moving forward is simply a matter of interacting with every object signposted in a room, and it’s all but impossible to get stuck. It’s a slightly awkward control system, as I found that Beckett often did not go where I wanted. There are also a handful of sections where you fly your ship through dangerous areas, piloting it with simple touch controls between floating debris and avoiding other ships that try to ram you. These sections offer some variety, although there are only a few of them. Judging the distance between your ship and the objects you’re trying to avoid is difficult and the degree of control you are offered is quite limited, but they’re also the best indicator the game gives of the vastness of the space you’re exploring–each of the game’s locations is otherwise very small.

This is an adventure game that focuses largely on the choices you make, and how (or whether) they impact the story. Choices rarely have huge ramifications, and I never found myself having to think about what to do for long. Most decisions boil down to dialogue responses to things other characters say, and framing what sort of relationship you want Beckett and Serra to have. A few of the choices you have to make are framed as though they have major implications within the story, like if you should wipe a robot’s memory or try to reprogram it to be nicer, or whether you should hold a character captive or let them go after they hack into your ship’s computer. However, by the time the credits roll, most of these decisions end up feeling inconsequential to how things played out–if they factored in at all.

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