Since Sony announced that it was planning to stop producing physical PlayStation discs in 2028, many people have been justifiably worried about how they will maintain ownership and long-term game access in a disc-free world. But halting production of PlayStation discs also means eliminating the market for cheap used PlayStation discs, which are often available for well below the price of a digital download.
How much is this disc-based discount worth? To find out, Ars analyzed how the prices of 19 current top-selling PlayStation games varied between digital downloads and physical discs (both new and used). We found that, while used discs are the cheapest option for most games for most of the year, the frequent and periodic deep discounts offered on the PlayStation Store often undercut the cheapest game disc options. That state of affairs will likely persist even in a future without PlayStation discs.
Our prices are so low, you'll think we've suffered brain damage
For our analysis, we started with Sony's list of the bestsellers on the PlayStation Store. We eliminated any games that weren't available on a physical disc, then used the database over at PlatPrices.com to determine both the "Standard" price and the lowest "Discount" price offered for those games on the PlayStation Store in the last year (as well as the total number of days the discount price was offered).
Sony has patented a modular PlayStation controller featuring a detachable touchscreen, rotating navigation dial, and magnetic components, hinting at a more customizable future for PlayStation gaming.
An anonymous reader quotes a report from Techdirt: In 2022, due to "evolving licensing agreements" with distributor StudioCanal, German and Austrian users had hundreds of movies disappear from their PS accounts, long after buying them through Sony. Then in 2023, it happened again in America, specifically when Sony ended its licensing agreement with Discovery after the Warner Bros. merger, which, of course, has since been bought by Paramount Skydance. That resulted in customers having hundreds and hundreds of episodes of TV shows deleted from their accounts. Nowhere in any of this were there refunds, of course. No recompense at all, actually. Just a thing you thought you'd bought taken away from you by the very people you thought you bought it from.
And now it's happening again. Due to another licensing agreement fallout with StudioCanal, hundreds of movies and TV shows are being ripped from the accounts of PS Store customers, and there appears to be fuck all that they can do about it. [Kotaku reports:] "This news was brought to people's attention by X user somatyk, who posted the notification they had received from PlayStation this week. Along with the unapologetic news that the purchased movies would be deleted from their account on September 1, the message concluded with, 'Click here for a full list of affected titles that will no longer be supported. Thank you.' The same warning is now reproduced in full on the PlayStation website, along with the list of 551 films and TV series that are being pulled from people's libraries."
As Kotaku notes later in their post, part of what is striking in all of this is the sheer mundanity of the announcement. Because there have been no consequences, or any action at all from the public or government, Sony treats this all as if it's perfectly normal and no big deal. You can tell me all you want about how the Ts and Cs in these purchases do in fact note that the nature of the purchase is a temporary licensing of the content for an undetermined time period... but I can promise you that the public in general doesn't understand that. They think they're buying a thing, not a license.
RPCS3 can now play 75% of the tracked PS3 library on PC, reaching its milestone as Sony prepares to close the console’s digital store and abandon new physical releases.
4 generations of Xbox hardware. (GeekWire Photo / Thomas Wilde)
Commentary: The last couple of weeks have served as a capstone to what’s become a bad few years for the international video game industry. Now it appears the larger sector is headed directly into a significant crash, as several unsustainable practices all seem to be approaching a crisis point at once.
The first and most obvious issue is the ongoing component shortage. Due to the rush to build AI data centers, both RAM and solid-state drives have risen dramatically in price in 2026, with analysts forecasting that costs might not settle back down until at least 2028.
Both the PlayStation 5 and Xbox Series X|S are at the point in their life cycle when they’d ordinarily be declining in per-unit costs as the technology matured. Instead, both Sony and Microsoft have raised console prices multiple times this year due to the high demand for parts.
This would ordinarily be a great time to get into video games, as we’re almost six years into the current console generation. Instead, it’s one of the worst. The base PS5 and Series X are about as expensive as they were at launch in November 2020, and building a new gaming PC right now can be costly.
The component crunch also harmed the debut of Valve’s new Steam Machine, which officially launched late last month with a starting MSRP of $1,049. Valve, based in Bellevue, Wash., was forced to offer the new hardware at a significantly higher price than planned due to the difficulty in getting components.
That’s been reflected in its early reviews, with manyoutletsnoting that the Steam Machine’s current price doesn’t match its power. At $700, the Machine would be a great gateway product for PC gaming, the way the Steam Deck was, and a genuine competitor in the console field, but a $1,049 price tag makes it an expensive curiosity for financially secure gadget-heads.
Another bad sign came from Sony’s recent announcement that it would sunset physical media for the PlayStation platform by 2028. This decision, which allegedly took many of Sony’s publishing partners by surprise, has serious knock-on effects for collectors, historians, developers, and most prominently consumers.
Sony has already caught one lawsuit over alleged market exploitation on the PlayStation Store, and that was a few days before it announced it wants to kill discs. An all-digital PlayStation library means that Sony would get to exercise full monopolistic control over pricing and access for every game it sells; licensing agreements mean that anything purchased on a digital storefront like the PlayStation Store is subject to deletion at any time without notice; and players wouldn’t be able to resort to any of the usual cost-cutting measures such as bargain bins, buying used copies, or even trading games with a friend.
That suggests that Sony has decided its best path forward is to continue to extract money from its established audience, rather than to have more options in place for gaming on a budget. There are free-to-play games on the PS5, of course, but most if not all are cross-platform and/or designed as money sinks. Ask any parent whose kids accidentally ran up a big tab in Fortnite.
Sony’s PlayStation 5. (Sony press image)
If Sony has decided to end physical media, then it’s likely Microsoft will follow suit. While Xbox hasn’t mentioned its next-generation console, codenamed Project Helix, for a hot minute, it has been eager to get rid of discs since at least 2013. Some sources, such as Windows Central, allege that Xbox is already planning to do so.
(Meanwhile, Nintendo is likely to do its own thing. While Nintendo has been forced to raise the price of the Switch 2 alongside its competitors, it has offered no sign that it plans to stop selling game cards or Switch cartridges. In an uncertain world, Nintendo can be relied upon to only ever follow its own peculiar instincts.)
This sets up an early look at the environment that surrounds the 10th generation of console hardware. If both Sony and Microsoft stick to traditional timelines, we’re likely to start hearing more about the PlayStation 6 and Project Helix over the course of 2027, with launch in holiday 2027 or 2028.
If they do launch along that timeline, then it’s difficult to see how either system will retail for less than $1,000, since the storage and RAM supplies will still be constrained by that point. That automatically prices most of the potential audience out of the market. Once the starting costs hit the four-digit range, a console stops being a hobby or a toy for children and becomes an expensive extravagance. (As a general rule, you probably don’t want your console to cost significantly more than the TV you’re attaching it to.)
Further, it’s arguable that neither the PlayStation 5 nor the Xbox Series X|S have really hit their potential. Sony has famously squandered much of this generation on a largely abortive pivot to games-as-a-service, while Xbox has often seemed more interested in laying off developers than actually making or marketing games. The 9th generation of consoles has had a few big hits, but it’s mostly despite itself.
Not only is there likely to be limited demand for the 10th-generation PlayStation or Xbox, but neither of them actually seem necessary. The only reason to make them is for a brand refresh, and that’s got nothing to do with consumers.
Microsoft, following its acquisition of Activision Blizzard in 2023, is currently the second largest game developer in the world, while Sony dominates today’s console market. These two companies influence much of what happens in the modern video game industry, and as of right now, both are apparently determined to do the most short-sighted thing possible at any given time.
Sony has decided that only part of its audience actually matters, while Microsoft seems to be saddling Xbox with unrealistic expectations, possibly to justify its eventual sale or shutdown, and is ignoring at least one organized boycott.
Reggie Fils-Aimé (center) leads a roundtable discussion of Xbox architects to celebrate the platform’s 20th anniversary in 2021. Left to right: Robbie Bach, Ed Fries, Fils-Aimé, Peter Moore, Bonnie Ross. (Microsoft Alumni Network)
Whenever the video game industry undergoes any kind of significant disruption, someone somewhere always asks if it’s the start of another “Crash of ‘83.” This is usually hyperbole, but it’s hard not to see the parallels between then and now: the video game market is flooded, there are few true exclusives left outside of Nintendo, many members of the gaming audience buy as few as 2 games a year, and the end of physical media will end both retail support and much of the casual audience.
This is unfolding as a slow, years-long plummet rather than the comparatively sudden shock of ‘83, but a crash is a crash. It’s avoidable, but it would require a massive, simultaneous course correction from several of the largest entertainment companies in the world.
That being said, it’s unlikely that video games as a medium are facing any kind of existential threat. Nintendo, as noted above, is well-positioned to ride out any potential problems with the larger market, PC gaming is hanging on, and the mobile sector is actually having a sort of quiet renaissance right now. There will still be video games to play in 2030, barring some larger disaster.
If there’s one big opportunity here, it’s that many of the major players in the games industry have either voluntarily abandoned the market for budget gaming or have been forced out by component costs. Some of the biggest hits of the 2020s to date, such as Vampire Survivors, Among Us, Lethal Company, and Balatro, are cheap, retro-styled games designed to run on almost any hardware, from a PlayStation 5 to your 4-year-old tablet.
The best step forward for mainstream gaming, then, might actually be to take a step back, in a similar way to projects such as Panic’s Playdate retro handheld (still going strong 5 years later) or Seattle’s Tin Can, seeing success with its land-line phones for kids and families. Chasing bigger games, higher frame-rates, and more realistic graphics for 30 years has gotten us here, up to the edge of a second major crash, while thousands of people log on every day to play games that could be run on a particularly big potato.
Instead of rushing into the 10th generation, the solution now might be to think simpler and cheaper, making smaller, more focused projects rather than the 5-year moonshot of a typical AAA game. Otherwise, mainstream video games may end up like Western comics: increasingly expensive options presented to a shrinking handful of fervent fans.
Sony is putting its name closer to crypto trading in Japan, with Amber Japan being rebranded as S.BLOX as the group prepares a refreshed domestic exchange push.
For more details, visit the official S.BLOX platform.
TL;DR
Amber Japan has been rebranded as S.BLOX under Sony Group’s wider crypto strategy.
The plan points to a redesigned app and a more consumer-facing exchange product.
The move brings one of Japan’s best-known technology brands deeper into digital assets.
Japan’s crypto market has never lacked regulation, but it has sometimes lacked consumer brands with the scale to bring digital assets into everyday financial products. Sony changes that equation. A rebranded exchange backed by a household technology name carries a different kind of signal than another small platform launch.
A Familiar Brand Enters A Regulated Market
The rebrand does not mean Sony is suddenly turning into a crypto-native company. It does show that the group sees enough long-term value in digital asset trading, custody, and app-based financial services to put resources behind a domestic exchange identity.
That matters in Japan because local crypto firms operate inside a tighter licensing framework than many offshore venues. For users, brand trust and compliance standards are part of the product. For Sony, the challenge is turning that trust into a platform people actually use rather than just a corporate experiment.
More Than A Name Change
S.BLOX is expected to focus on app redesign and service improvements, which is where the story becomes practical. Crypto exchanges do not win users just because a large parent company is involved. They win when onboarding, liquidity, fees, asset selection, and custody feel reliable.
Still, Sony’s move gives the Japanese market a notable new player at a time when regulated crypto access is becoming more important globally. If S.BLOX can combine consumer-grade design with Japan’s compliance framework, it could become a useful test case for how major technology firms enter crypto without looking like tourists.
This article is based on information from S.BLOX.
This article was written by the News Desk and edited by Samuel Rae.
This report is based on information from S.BLOX. at S.BLOX
Happy belated July 4th to all the readers from the United States — hopefully you aren’t reading this from a hospital bed after losing a hand or burning off your eyebrows. While we suspect amateur firework shows and their related injuries will be around for many years to come, we did note that many major cities switched over to drone shows this year.
At least on paper, the appeal is obvious. Beyond the fact that drones are safer and quieter than pyrotechnics, they’re also capable of far more complex displays. Good luck trying to draw George Washington’s face in the sky with exploding rockets. But even if it’s a little more than nostalgia, there’s still something about the sights and sounds of fireworks that enthrall audiences. For many, the whole “rockets’ red glare” thing is a bit more meaningful than the “drones’ red LEDs.”
Earlier this week, we brought you news that Sony would stop producing physical PlayStation discs in January 2028. Many gamers are understandably concerned about the long-term implications such a move will have for software ownership, and while the negative reactions online haven’t bothered Sony enough to get them to amend their plans, they have clarified the situation with developers by explaining that games published before the cutoff date aren’t impacted. So if a developer has a hit title that drops in the summer of 2027 and they want to keep cranking out discs, additional orders can still be placed. Not much of a reprieve, but it will give the community a little more time to figure out what comes next.
While plenty would argue that the death of physical media has been exaggerated, the same can’t be said about 3D TV. Engadget has a piece that goes over what went wrong with 3D home media, and not all of it is on the technical side. Of course, a big part of the problem was the glasses — they were goofy and added per-viewer expenses that consumers weren’t thrilled with. But some of the blame also has to be put on Hollywood and the content they were putting out.
There were a few big-name movies like Avatar that were filmed in 3D, and computer-generated films could be rendered to take advantage of the third dimension, but the rest were lazy at best. Getting folks to spend thousands on a 3D-capable home theater was tricky enough, but asking them to do it if there were only a handful of movies worth watching on the thing was simply asking too much.
Speaking of tech heading off into the sunset, it looks like the end may be near for Amazon’s Mechanical Turk service, as they’ve announced they’ll no longer be taking new customers after this month. For those unaware, Mechanical Turk connected bored humans with customers that had repetitive tasks they needed completed. Think of somebody spending an afternoon sorting images and making a few cents a pop.
When the service launched 20 years ago, tasks like this were difficult to automate, and it made sense to pay humans to do it. But in the age of AI, it comes as no surprise to hear Amazon is looking to wind things down. Existing Mechanical Turk users will be able to continue using the service after July, but with no new jobs coming in, the writing is clearly on the wall.
Finally, things seem to be going well so far for the Neil Gehrels Swift Observatory rescue mission. On July 3rd, the robotic LINK spacecraft that will eventually link up with the Observatory and push it into a higher orbit was successfully air-launched aboard a Northrop Grumman Pegasus XL rocket. Teams on the ground have already made contact with the rescue vehicle and are performing health checks on it before committing to a rendezvous with the ailing Swift.
LINK will attempt to push the Neil Gehrels Swift Observatory into a higher orbit.
Once it has attached itself to Swift, LINK will push it up to an altitude of around 640 km (400 miles), which should keep it from burning up in the Earth’s atmosphere for another decade or so. We’ve had our eye on this ambitious mission for some time now, and will keep you updated as it progresses.
See something interesting that you think would be a good fit for our weekly Links column? Drop us a line; we’d love to hear about it.
Sony announced on Wednesday morning that it plans to phase out physical media for future PlayStation games, which is a massive market disruption for an already reeling games industry. It ends trade-ins and lending, raises the overall price of entry for the PlayStation ecosystem, and turns your shelf full of games into licenses that can potentially disappear.
The news came via a post on the official PlayStation blog by senior communications director Sid Shuman. As of January 2028, all games for PlayStation platforms will only be available in digital formats, such as direct downloads.
“This is a natural direction for Sony Interactive Entertainment to adapt to consumer trends as the general preference for digital media significantly outpaces physical discs,” Shuman writes. “This transition will enable us to align more closely with how most of our community prefers to access and play games today.”
Analysts have expected an announcement like this for some time. As per Circana senior director Mat Piscatella, physical media sales in gaming have been on a steady downward turn since their peak in 2009, hitting an all-time low in 2025. In fact, several companies have sprung up since then that treat physical games as an exclusive collectible, such as Limited Run, Lost in Cult, and Videogames New York.
US new physical video game software spending. 12 months ending May 2007-2026:
It’s not hard to see why Sony would make this move. We’re approaching the point that would usually mark the end of the PlayStation 5’s life cycle. Were it not for the ongoing component shortage, we’d likely have heard more about the PlayStation 6 by now. An all-digital PS6 theoretically uses fewer parts and the games are cheaper to publish, which lowers the per-unit cost for Sony as it develops the new hardware.
However, Sony’s decision to sunset physical media in a year-and-a-half is faster than most analysts’ craziest predictions, most of whom figured it’d take at least another decade to fully phase discs out. Even at its lowest point, per Circana’s math, physical media in video games represents $1.9 billion in consumer sales. That’s not insignificant.
Sony’s competitors have yet to react in any significant way. Microsoft’s next-generation Xbox, currently known under the codename Project Helix, is rumored to be an all-digital system, and Microsoft has famously been trying to get out of the physical media business since at least 2013.
That year, Microsoft announced at E3 that the Xbox One would have significant measures in place to keep players from reselling their physical games, which led to widespread outcry online. The next day, Sony’s president went onstage and proclaimed the PS4 would do none of that — which gave it a big head of steam going into a console generation Sony went on to win.
Thirteen years later, Sony is making Microsoft’s old bet.
The irony is that Sony itself underscored one of the biggest issues with ditching physical media last Sunday. On June 26, Sony sent a number of users in the United Kingdom an email to notify them that due to the end of a license agreement, 551 shows and movies that were previously available on the PlayStation Network would be removed from the service. Consumers who’d previously thought they’d made a purchase were suddenly informed that it had actually been a multi-year rental.
That’s the central problem of the streaming era for end users: you only have anything in your digital library for as long as the library’s owner decides you do. An all-digital future means you own nothing. At best, you have limited viewership rights that can be revoked at short notice.
Most worryingly, however, the shift to an all-digital future effectively raises the cost of entry to the console market, at a point when the price of gaming is already rising. If there are no physical discs for the PlayStation 6, then you can’t swap discs with a buddy or defray a purchase by trading an old game back to a store.
This is a relatively sudden disruption to the console market, and through it, to the games industry as a whole. It’s likely to have a series of knock-on effects for the next few years, and sets an early tone for the upcoming 10th generation of console hardware.
While it’s still possible that consumer outcry could get Sony to reverse course here, or offer some intermediary solution like USB disc drives, the end of physical gaming media has analysts and players alike asking a lot of tough questions about costs, preservation, and consumer convenience. The games industry is changing faster than expected in 2026, and is likely to be nearly unrecognizable by this time next year.
Sony has announced that it will end support for disk-based games from January 2008. From that point, no new games will be released in a physical format for the PS5 or a potential PS6 console.
Some gamers are concerned about the future of game ownership after Sony's announcement today that it won’t produce physical discs for PlayStation games as of January 2028. On that date, “new games will be available on PlayStation Store and at retailers in digital formats only,” Sony said in a blog post.
Ditching discs is “a natural direction” for Sony “to adapt to consumer trends as the general preference for digital media significantly outpaces physical discs," the post said.
During Sony’s fiscal year ending on March 31, 2026, digital downloads accounted for 78 percent of full-game unit purchases, up from 76 percent in fiscal 2024.
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