Marvel is giving X-Men readers a closer look at the franchise's next major evolution. 2022's Destiny of X will introduce a new wave of X-Men comics and a major status quo change for mutantkind.

Destiny of X is the latest chapter in the ongoing saga that began with 2019's House of X and Powers of X. In fact, Marvel's press release bills this new storyline as the start of "the Second Krakoan Age." Marvel also released a new teaser image hinting at the big changes to come:

While plot details are being kept under wraps for now, we do know Destiny of X builds directly on the fallout of Inferno and the twin miniseries X Lives of Wolverine and X Deaths of Wolverine. The former serves as writer Jonathan Hickman's final X-Men tale, wrapping up many of the Moira MacTaggert-related loose ends from House of X and Powers of X. The latter two books follow Wolverine as he embarks on a dangerous quest across time with the fate of Krakoa at stake.

The teaser image above reveals a number of new X-Men comics debuting in 2022 alongside current titles like X-Men, Marauders, X-Force, New Mutants and Wolverine. Those include The Immortal X-Men, X-Men Red, Legion of X and Knights of X. That lineup doesn't include other smaller-scale new books like the Sabretooth limited series and the one-shot special Secret X-Men #1.

That teaser art hints at a few noteworthy developments in the months ahead. Storm is donning a new costume and reverting to her iconic mohawk, while Magneto is back in his classic red and purple costume. Legion appears to have been assimilated by the Phalanx, who were previously teased as one of the ultimate threats to mutant survival in Powers of X. And we even see Deadpool in this lineup, the first time the Merc With a Mouth has played a part in the current Krakoa status quo.

“The journey of the Krakoan Age is far from over!” teased Senior Editor Jordan D. White in Marvel's press release. “Our long-term plan that all our creators have been working on in our secret Council Chamber has only just begun to come to fruition. With the filling of the two empty council seats, the Reign of X has ended, and it’s time for mutantkind to reach for their destiny!”

What are you hoping to see in Destiny of X? Let us know your theories about the Second Krakoan Age in the comments below.

Jesse is a mild-mannered staff writer for IGN. Allow him to lend a machete to your intellectual thicket by following @jschedeen on Twitter.

Marvel is giving X-Men readers a closer look at the franchise's next major evolution. 2022's Destiny of X will introduce a new wave of X-Men comics and a major status quo change for mutantkind.

Destiny of X is the latest chapter in the ongoing saga that began with 2019's House of X and Powers of X. In fact, Marvel's press release bills this new storyline as the start of "the Second Krakoan Age." Marvel also released a new teaser image hinting at the big changes to come:

While plot details are being kept under wraps for now, we do know Destiny of X builds directly on the fallout of Inferno and the twin miniseries X Lives of Wolverine and X Deaths of Wolverine. The former serves as writer Jonathan Hickman's final X-Men tale, wrapping up many of the Moira MacTaggert-related loose ends from House of X and Powers of X. The latter two books follow Wolverine as he embarks on a dangerous quest across time with the fate of Krakoa at stake.

The teaser image above reveals a number of new X-Men comics debuting in 2022 alongside current titles like X-Men, Marauders, X-Force, New Mutants and Wolverine. Those include The Immortal X-Men, X-Men Red, Legion of X and Knights of X. That lineup doesn't include other smaller-scale new books like the Sabretooth limited series and the one-shot special Secret X-Men #1.

That teaser art hints at a few noteworthy developments in the months ahead. Storm is donning a new costume and reverting to her iconic mohawk, while Magneto is back in his classic red and purple costume. Legion appears to have been assimilated by the Phalanx, who were previously teased as one of the ultimate threats to mutant survival in Powers of X. And we even see Deadpool in this lineup, the first time the Merc With a Mouth has played a part in the current Krakoa status quo.

“The journey of the Krakoan Age is far from over!” teased Senior Editor Jordan D. White in Marvel's press release. “Our long-term plan that all our creators have been working on in our secret Council Chamber has only just begun to come to fruition. With the filling of the two empty council seats, the Reign of X has ended, and it’s time for mutantkind to reach for their destiny!”

What are you hoping to see in Destiny of X? Let us know your theories about the Second Krakoan Age in the comments below.

Jesse is a mild-mannered staff writer for IGN. Allow him to lend a machete to your intellectual thicket by following @jschedeen on Twitter.

Sony Group debuted an 8K VR headset prototype on Monday as part of the Sony Technology Day event, promising dramatically increased visual fidelity, reduced latency, and OLED microdisplays.

You can check out the gallery below (or watch Sony's video here) for a look at the 8K VR headset in action.

The biggest selling point of such a VR headset is certainly its graphical fidelity. Sony R&D engineers Yasuko Ishihara and Kei Kimura demonstrated how 8K allows for vastly more detailed graphics in a VR setting, such as seeing the finely detailed leather on a luxury car seat. On a technical level, the headset achieves 4K with one eye and 8K with both. Since each eye is a microdisplay, this would also significantly reduce the weight and size of the headset.

Lower latency levels also means that data is sent to each display in less than 0.01 seconds, which allows for a smoother and more realistic sense of movement, rather than the artificial drag that may occur if your PC/HMD struggles to keep up with a VR experience's graphics.

The headset appears to still be firmly in the prototype stages, if the mess of wires and handles weren't a giveaway. It's also definitely not part of the PS5 PSVR headset expected to release in the 2022 holidays, UploadVR reports. Ishihara and Kimura implied during their presentation that the prototype 8K headset will have engineering design, medical, and entertainment functionality, among other utilities.

You can follow everything we do know about the PSVR 2 here, or check out the best VR headsets to get as gifts for the holidays.

Joseph Knoop is a writer/producer/VR goob for IGN.

Sony Group debuted an 8K VR headset prototype on Monday as part of the Sony Technology Day event, promising dramatically increased visual fidelity, reduced latency, and OLED microdisplays.

You can check out the gallery below (or watch Sony's video here) for a look at the 8K VR headset in action.

The biggest selling point of such a VR headset is certainly its graphical fidelity. Sony R&D engineers Yasuko Ishihara and Kei Kimura demonstrated how 8K allows for vastly more detailed graphics in a VR setting, such as seeing the finely detailed leather on a luxury car seat. On a technical level, the headset achieves 4K with one eye and 8K with both. Since each eye is a microdisplay, this would also significantly reduce the weight and size of the headset.

Lower latency levels also means that data is sent to each display in less than 0.01 seconds, which allows for a smoother and more realistic sense of movement, rather than the artificial drag that may occur if your PC/HMD struggles to keep up with a VR experience's graphics.

The headset appears to still be firmly in the prototype stages, if the mess of wires and handles weren't a giveaway. It's also definitely not part of the PS5 PSVR headset expected to release in the 2022 holidays, UploadVR reports. Ishihara and Kimura implied during their presentation that the prototype 8K headset will have engineering design, medical, and entertainment functionality, among other utilities.

You can follow everything we do know about the PSVR 2 here, or check out the best VR headsets to get as gifts for the holidays.

Joseph Knoop is a writer/producer/VR goob for IGN.

James Cameron, the director of such celebrated films as Titanic, The Terminator, Aliens, and Avatar, has revealed that the Spider-Man movie he once failed to make was, "the greatest film I never made."

IGN was part of a roundtable discussion with James Cameron about his upcoming book - Tech Noir: The Art of James Cameron - and ScreenCrush's Matt Singer asked him about his attempt to bring Spider-Man to the big screen back before Terminator 2.

In Tech Noir, which contains hundreds of pieces of artwork from Cameron himself throughout his entire life alongside personal commentary, he included his concept art for this Spider-Man film and wrote about how it was "the greatest movie I never made." In our roundtable, he extrapolated that thought and shared a bit more about what this movie could have been and why it never made it to the finish line.

"I think it would’ve been very different," Cameron said. "The treatment that I wrote – with Stan Lee’s blessing I want to say – Stan and I got to be pals around that process, it was one of his personal favorite characters, and I didn’t make a move without asking him permission."

He obviously went to Stan Lee with a plan in place, and one of the biggest changes to Spider-Man from the comics that he wanted to make was to give Peter Parker biological web shooters. While this isn't news in itself and has been known for some time, it's always great to hear Cameron's perspective on his idea that would eventually find its way into the Sam Raimi Spider-Man trilogy.

"Going with the biological web shooters as being part of his biological adaptation to the radioactive spider bite made sense to me and I checked with Stan, I said, ‘Look, this kid is Spider-Kid. The first thing you got to get your mind around is, it’s not Spider-Man. He goes by Spider-Man, but he’s not Spider-Man. He’s Spider-Kid. He’s Spider-High-School-Kid. He’s kind of geeky and nobody notices him and he’s socially unpopular and all that stuff,'" Cameron shared.

This new take on Spider-Man would also be, according to Cameron, a "great metaphor for that untapped reservoir of potential that people have that they don't recognize in themselves."

"So it was a great metaphor," Cameron said. "The whole super power thing was, in my mind, a great metaphor for that untapped reservoir of potential that people have that they don’t recognize in themselves. And it was also in my mind, it was a metaphor for puberty and all the changes to your body, your anxieties about society, about society’s expectations, your relationships with your gender of choice that you’re attracted to, all those things.”

Cameron's Spider-Man film would have had "a kind of gritty reality to it," and he wanted the story to take place in the "real world" as opposed to something "mythical" like Gotham City.

"I wanted to make something that had a kind of gritty reality to it,” Cameron shared. “Superheroes in general always came off as kind of fanciful to me, and I wanted to do something that would have been more in the vein of Terminator and Aliens, that you buy into the reality right away. So you’re in a real world, you’re not in some mythical Gotham City. Or Superman and the Daily Planet and all that sort of thing, where it always felt very kind of metaphorical and fairytale-like.

"I wanted it to be... It’s New York. It’s now. A guy gets bitten by a spider. He turns into this kid with these powers and he has this fantasy of being Spider-Man, and he makes this suit and it’s terrible, and then he has to improve the suit, and his big problem is the damn suit. Things like that. I wanted to ground it in reality and ground it in a kind of universal human experience. I think it would have been a fun film to make.”

Unfortunately for Cameron and all of us, his version of Spider-Man was never to be.

"It basically got caught in a crunch where Carolco, the company that I had requested buy the rights, it was languishing, you know," Cameron said. "Marvel had sold it to Cannon, Cannon was this low-budget kind of piece-of-junk outfit and they never made it or knew how to make it. Nobody had ever thought of Spider-Man, I think, as a movie at all. So, when I found out it was at Cannon, I got Carolco to buy it, and then Carolco went bankrupt. And then all of sudden it was a free ball.

He attempted to save it by going to 20th Century Fox and telling them to pick it up, but they didn't want to get into a fight with Sony who, "had some very questionable attachment to the rights."

"I tried to get Fox to buy it, but apparently the rights were a little bit clouded and Sony had some very questionable attachment to the rights and Fox wouldn’t go to bat for it," Cameron explained. "Peter Chernin just wouldn’t go to bat for it. He didn’t want to get into a legal fight over it. And I’m like ‘Are you kidding? This thing could be worth, I don’t know, a billion dollars!’ $10 billion later...”

Despite it never getting made, this attempt at making a Spider-Man film was an important learning experience for Cameron and pushed him even further in the direction of focusing on creating his own works as opposed to adapting others' creations.

"I’d also sort of made a decision after Titanic to just kind of move on and do my own things and not labor in the house of others’ IP," Cameron concluded. "So, I think that was probably the kick in the ass that I needed to just go make my own stuff.”

While we may never get to see James Cameron's Spider-Man, fans of the web-slinger don't have much longer to wait until Spider-Man: No Way Home arrives exclusively in theaters on December 17, 2021.

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.

James Cameron, the director of such celebrated films as Titanic, The Terminator, Aliens, and Avatar, has revealed that the Spider-Man movie he once failed to make was, "the greatest film I never made."

IGN was part of a roundtable discussion with James Cameron about his upcoming book - Tech Noir: The Art of James Cameron - and ScreenCrush's Matt Singer asked him about his attempt to bring Spider-Man to the big screen back before Terminator 2.

In Tech Noir, which contains hundreds of pieces of artwork from Cameron himself throughout his entire life alongside personal commentary, he included his concept art for this Spider-Man film and wrote about how it was "the greatest movie I never made." In our roundtable, he extrapolated that thought and shared a bit more about what this movie could have been and why it never made it to the finish line.

"I think it would’ve been very different," Cameron said. "The treatment that I wrote – with Stan Lee’s blessing I want to say – Stan and I got to be pals around that process, it was one of his personal favorite characters, and I didn’t make a move without asking him permission."

He obviously went to Stan Lee with a plan in place, and one of the biggest changes to Spider-Man from the comics that he wanted to make was to give Peter Parker biological web shooters. While this isn't news in itself and has been known for some time, it's always great to hear Cameron's perspective on his idea that would eventually find its way into the Sam Raimi Spider-Man trilogy.

"Going with the biological web shooters as being part of his biological adaptation to the radioactive spider bite made sense to me and I checked with Stan, I said, ‘Look, this kid is Spider-Kid. The first thing you got to get your mind around is, it’s not Spider-Man. He goes by Spider-Man, but he’s not Spider-Man. He’s Spider-Kid. He’s Spider-High-School-Kid. He’s kind of geeky and nobody notices him and he’s socially unpopular and all that stuff,'" Cameron shared.

This new take on Spider-Man would also be, according to Cameron, a "great metaphor for that untapped reservoir of potential that people have that they don't recognize in themselves."

"So it was a great metaphor," Cameron said. "The whole super power thing was, in my mind, a great metaphor for that untapped reservoir of potential that people have that they don’t recognize in themselves. And it was also in my mind, it was a metaphor for puberty and all the changes to your body, your anxieties about society, about society’s expectations, your relationships with your gender of choice that you’re attracted to, all those things.”

Cameron's Spider-Man film would have had "a kind of gritty reality to it," and he wanted the story to take place in the "real world" as opposed to something "mythical" like Gotham City.

"I wanted to make something that had a kind of gritty reality to it,” Cameron shared. “Superheroes in general always came off as kind of fanciful to me, and I wanted to do something that would have been more in the vein of Terminator and Aliens, that you buy into the reality right away. So you’re in a real world, you’re not in some mythical Gotham City. Or Superman and the Daily Planet and all that sort of thing, where it always felt very kind of metaphorical and fairytale-like.

"I wanted it to be... It’s New York. It’s now. A guy gets bitten by a spider. He turns into this kid with these powers and he has this fantasy of being Spider-Man, and he makes this suit and it’s terrible, and then he has to improve the suit, and his big problem is the damn suit. Things like that. I wanted to ground it in reality and ground it in a kind of universal human experience. I think it would have been a fun film to make.”

Unfortunately for Cameron and all of us, his version of Spider-Man was never to be.

"It basically got caught in a crunch where Carolco, the company that I had requested buy the rights, it was languishing, you know," Cameron said. "Marvel had sold it to Cannon, Cannon was this low-budget kind of piece-of-junk outfit and they never made it or knew how to make it. Nobody had ever thought of Spider-Man, I think, as a movie at all. So, when I found out it was at Cannon, I got Carolco to buy it, and then Carolco went bankrupt. And then all of sudden it was a free ball.

He attempted to save it by going to 20th Century Fox and telling them to pick it up, but they didn't want to get into a fight with Sony who, "had some very questionable attachment to the rights."

"I tried to get Fox to buy it, but apparently the rights were a little bit clouded and Sony had some very questionable attachment to the rights and Fox wouldn’t go to bat for it," Cameron explained. "Peter Chernin just wouldn’t go to bat for it. He didn’t want to get into a legal fight over it. And I’m like ‘Are you kidding? This thing could be worth, I don’t know, a billion dollars!’ $10 billion later...”

Despite it never getting made, this attempt at making a Spider-Man film was an important learning experience for Cameron and pushed him even further in the direction of focusing on creating his own works as opposed to adapting others' creations.

"I’d also sort of made a decision after Titanic to just kind of move on and do my own things and not labor in the house of others’ IP," Cameron concluded. "So, I think that was probably the kick in the ass that I needed to just go make my own stuff.”

While we may never get to see James Cameron's Spider-Man, fans of the web-slinger don't have much longer to wait until Spider-Man: No Way Home arrives exclusively in theaters on December 17, 2021.

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 Game Awards won't exclusively focus on big game awards and reveals, as host Geoff Keighley has revealed that the first trailer for the long-awaited Halo TV series will be shown off during the event. It will continue what's already a huge week for the Halo franchise, with the release of Halo Infinite's campaign happening tomorrow.

To teased the event, Keighley posted a quick video showing UNSC soldiers and Marines running through a hangar, with iconic Halo vehicles like Warthogs and Pelicans shown in the background. Get a quick look at the footage below.

A big week for @halo just got bigger.

Thursday, see the world premiere of the first trailer for #HaloTheSeries during #TheGameAwards pic.twitter.com/lqOG5XImhM

— Geoff Keighley (@geoffkeighley) December 7, 2021

The show is set to debut on Paramount Plus next year, and we already know much of the cast. Pablo Schreiber will star as Master Chief, with Danny Sapani and Olive Gray set to play Jacob and Miranda Keyes, respectively. Jen Taylor, the voice of Cortana in the Halo games, will reprise her role as the AI in the TV series. You can check out the full cast list here.

Otto Bathurst is director and producer of the Halo TV series. The show started production in 2019, but was slowed due to COVID-19. The series will apparently tell an original story in the Halo universe, while remaining respectful to the established lore.

This is far from the first attempt to create a Halo TV series. From a Ridley Scott spin-off to a Neill Blomkamp project that never saw the light of day, it's been a long road for Halo fans. We'll have to see what this project looks like later this week, but initial impressions say Schreiber's Master Chief looks fantastic.

The Game Awards will take place on Thursday, December 9 at 4:30pm PT/7:30pm ET. To see the Halo reveal the second it happens, check out our guide on how to watch The Game Awards.

And, that's far from the only Halo news happening this week. Halo Infinite's highly-anticipated campaign drops tomorrow, and reception is very positive. In our Halo Infinite campaign review, we said Infinite, "has absolutely brought Halo’s single-player campaign back into contention as one of the finest out there."

Logan Plant is a freelance writer for IGN. You can find him on Twitter @LoganJPlant.

The Game Awards won't exclusively focus on big game awards and reveals, as host Geoff Keighley has revealed that the first trailer for the long-awaited Halo TV series will be shown off during the event. It will continue what's already a huge week for the Halo franchise, with the release of Halo Infinite's campaign happening tomorrow.

To teased the event, Keighley posted a quick video showing UNSC soldiers and Marines running through a hangar, with iconic Halo vehicles like Warthogs and Pelicans shown in the background. Get a quick look at the footage below.

A big week for @halo just got bigger.

Thursday, see the world premiere of the first trailer for #HaloTheSeries during #TheGameAwards pic.twitter.com/lqOG5XImhM

— Geoff Keighley (@geoffkeighley) December 7, 2021

The show is set to debut on Paramount Plus next year, and we already know much of the cast. Pablo Schreiber will star as Master Chief, with Danny Sapani and Olive Gray set to play Jacob and Miranda Keyes, respectively. Jen Taylor, the voice of Cortana in the Halo games, will reprise her role as the AI in the TV series. You can check out the full cast list here.

Otto Bathurst is director and producer of the Halo TV series. The show started production in 2019, but was slowed due to COVID-19. The series will apparently tell an original story in the Halo universe, while remaining respectful to the established lore.

This is far from the first attempt to create a Halo TV series. From a Ridley Scott spin-off to a Neill Blomkamp project that never saw the light of day, it's been a long road for Halo fans. We'll have to see what this project looks like later this week, but initial impressions say Schreiber's Master Chief looks fantastic.

The Game Awards will take place on Thursday, December 9 at 4:30pm PT/7:30pm ET. To see the Halo reveal the second it happens, check out our guide on how to watch The Game Awards.

And, that's far from the only Halo news happening this week. Halo Infinite's highly-anticipated campaign drops tomorrow, and reception is very positive. In our Halo Infinite campaign review, we said Infinite, "has absolutely brought Halo’s single-player campaign back into contention as one of the finest out there."

Logan Plant is a freelance writer for IGN. You can find him on Twitter @LoganJPlant.

At long last, the first third-party PS5 controller has been announced. Scuf has introduced its new Reflex, Reflex Pro, and Reflex FPS controllers designed specifically for the PS5.

On the surface, the Scuf Reflex looks nearly identical to the traditional DualSense, but there are plenty of small improvements to be found. The biggest thing the Reflex line adds is a removable set of back control paddles. These back paddles work similarly to those on the Xbox Elite Series 2, but you can reprogram or disable them on the fly via a small rubber button on the back of the controller.

The Reflex and Reflex Pro still feature Sony’s adaptive triggers, but the Reflex FPS swaps them out for instant triggers that actuate with one tap similar to a mouse button.

You also get swappable thumbsticks on the Reflex, allowing you to change them out for long, short, domed, and concave options. The faceplate trim around the thumbsticks is also removable in case you want to swap colors.

Speaking of colors, the Reflex line will be available in white, gray, black, orange, navy blue, and red. However, only the black version will be available at launch with more colorways to be released in the next few weeks and months.

It's worth noting that technically the Scuf Reflex isn't the first non-Sony PS5 controller to hit the market – custom shops HexGaming and AimControllers both have launched customized DualSense variants already, but this is the first major company to launch its own PS5 controller thus far. Here's hoping other manufacturers like Astro will follow suit and bring more options to the market.

The Scuf Reflex line is available now with the baseline controller costing $199. The Scuf Reflex Pro and Reflex FPS retail for $229 and $259, respectively.

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

Kevin Lee is IGN's SEO Updates Editor. Follow him on Twitter @baggingspam.

At long last, the first third-party PS5 controller has been announced. Scuf has introduced its new Reflex, Reflex Pro, and Reflex FPS controllers designed specifically for the PS5.

On the surface, the Scuf Reflex looks nearly identical to the traditional DualSense, but there are plenty of small improvements to be found. The biggest thing the Reflex line adds is a removable set of back control paddles. These back paddles work similarly to those on the Xbox Elite Series 2, but you can reprogram or disable them on the fly via a small rubber button on the back of the controller.

The Reflex and Reflex Pro still feature Sony’s adaptive triggers, but the Reflex FPS swaps them out for instant triggers that actuate with one tap similar to a mouse button.

You also get swappable thumbsticks on the Reflex, allowing you to change them out for long, short, domed, and concave options. The faceplate trim around the thumbsticks is also removable in case you want to swap colors.

Speaking of colors, the Reflex line will be available in white, gray, black, orange, navy blue, and red. However, only the black version will be available at launch with more colorways to be released in the next few weeks and months.

The Scuf Reflex line is available now with the baseline controller costing $199. The Scuf Reflex Pro and Reflex FPS retail for $229 and $259, respectively.

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

Kevin Lee is IGN's SEO Updates Editor. Follow him on Twitter @baggingspam.