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Call Of Duty: Black Ops Cold War Zombies crossover with Call Of Duty: Vanguard

Treyarch has revealed a first look at the Zombies mode for Call Of Duty: Vanguard, with a dramatic trailer soundtracked by Billie Eilish.

In a trailer posted today (October 14), Treyarch has given fans a look at the gameplay and story behind Call Of Duty: Vanguard‘s upcoming Zombies game mode.

Treyarch’s first reveal of Vanguard‘s Zombies mode was accompanied by Billie Eilish, with the song ‘bury a friend‘ playing over scenes of frantic survival.

The trailer reveals a supernatural entity providing a Nazi soldier with the ability to raise zombies from the dead, but warns that “our enemies have allies from beyond this mortal realm”.

The playable survivors are equipped with eldritch-looking swords as they fight across a zombified version of the Hotel Royal and other Vanguard multiplayer maps, using a series of alien devices and WW2 weaponry to survive.

There’s also a glimpse of a zombie carrying a minigun, as well as what looks to be several Pack-A-Punch weapons. The trailer ends with a Nazi soldier creating more zombies, before summoning a large otherworldly being from a portal.

Overall, the trailer teases the Vanguard game mode going down a more occult path and continues the Dark Aether storyline, with ominous sigils and ritualistic necromancy involved.

Back in August, Sledgehammer Games revealed that Call Of Duty: Vanguard‘s Zombies mode would be handled by Treyarch in a “franchise first”, ensuring that the game mode will receive “continuity from a lore standpoint” while still “innovating on the core gameplay loop”.

In other news, Activision has revealed that Call Of Duty is getting a Valorant-style anti-cheat system. With a feature called Ricochet, Warzone – and eventually Vanguard – will include a kernel-level anti-cheat, “new server-side tools” and “enhanced investigation processes” aimed at tackling cheaters within the game.

The post ‘Call Of Duty: Vanguard’ Zombies trailer reveals occult horror and Billie Eilish appeared first on NME.

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