Meet Yoshie: Revealing Denshattack!’s first boss battle https://ift.tt/CTGFm4D
Hi everyone! On behalf of our studio Undercoders, and ahead of the game’s launch on July 15, we’re thrilled to give you an exclusive in-depth look at the first boss of Denshattack!
Denshattack! is a frenetic trick-based action game where you kickflip, ollie, and grind… as a train! Set in a colorful dystopian version of Japan, you must rack up points, complete objectives, and race rivals to become the best Denshattacker of all time.
We took inspiration from some of our favorite extreme-sports series, such as Tony Hawk’s Pro Skater and SSX, and combined them with the energy of classic arcade hits and the fascinating Y2K, colorful, cel-shaded aesthetics seen in games like Jet Set Radio or Auto Modellista.
Denshattack!’s world is built around outsiders
Denshattack! takes place in a future version of Japan where a climate catastrophe has left the rich untouchable inside their air-purifying domes, while everyone else is forced to survive in the undomed wastelands. A rebellious movement known as Denshattack has reclaimed the abandoned legacy railroad tracks, using them to fight for recognition in underground duels of speed, tricks, and technique.
Emi, a young but skilled ramen delivery girl, discovers Denshattack when she crosses paths with a journalist and sets off on an intense journey of discovery, growth, and challenge. From the southern lands of Kyushu to the freezing north of Hokkaido, she will need to make her way across Japan, crossing the ruins of the once-powerful railway network, meeting outcasts, learning new techniques, improving her skills, and battling local gang leaders.
Gang Bosses: an epic train showdown!
When designing the game, the team had a clear vision for the story arcs: just like in a classic shonen anime, each chapter had to end with a catharsis that felt impressive, creating a challenge to put all the newly learned mechanics to the test.
In Denshattack!, each of Japan’s regions is controlled by a gang of outlaws led by a powerful fighter. Each gang has its own visual identity, personality, fashion, and musical character, directly inspired by Japan’s suburban culture. These leaders each have their own motives, signature moves and secret techniques to provide the perfect base for a meaningful boss battle.
But how do you create a boss fight with trains? Going on rails may sound like a big limitation, but when your train can defy gravity to jump, wallride, trick, or grind, it can also dodge punches, parry projectiles, stomp on a shield, or launch itself against a mecha with a force of fifty tons!
Train-to-train (or train-to-giant-machine) combat turns out to be pretty interesting. And when combined with a cast of unique characters, local folklore, and Japan’s endless source of pop culture influences and aesthetics, it opens up a lot of opportunities to create original boss fights.
Kogals Unite! Meet Yoshie from the Dashing Queens
Yoshie is an influencer from Fukuoka whose popularity became so powerful that the government branded her a threat. In reality, they simply fear her influence. Her visual design and bubbly personality clearly embody gyaru, a Japanese subculture that challenges traditional Japanese beauty standards by centering glamour, volume, and confidence. You can see this in her hair, makeup, clothing, accessories, and, of course, her train.
But most of all, you can see it in her transformation sequence. Reminiscent of classic Sentai shows or anime such as Sailor Moon, Yoshie’s train joins forces with her soldiers and morphs into a huge magical girl-esque mecha. The gyaru elements extend here too, with bows, stars, and hearts galore.
Every boss fight follows a classic structure of different phases, where players need to identify patterns, avoid damage, and look for openings to perform counter-attacks. In this fight, Emi first uses tricks and combos to access the main battle, then performs quick rail changes to avoid the punches and uses grinds and ground pounds to deliver blows to the mecha. All these techniques are introduced throughout the first chapter and then put to the test during the fight.
The level’s music reflects Yoshie too: her battle theme is a collaboration between composer Sean Bialo, leading Vocaloid producer Yunosuke, and pop singer (and real-life gyaru idol) Alice Peralta.
Onto the next station!
Our publisher, Fireshine Games, loved the duel against Yoshie when we first presented it, but raised an interesting question: if this is the first boss fight and you’re already battling a giant mecha… where do we go from here? The only possible answer was: up and beyond!
Boss fights have been one of the most fun and interesting design challenges we’ve encountered while creating Denshattack!. We’ve been working hard to create set pieces that feel intense, challenging, original, surprising, and, above all, memorable.
Search #PSshare #PSBlog on Twitter or Instagram to see more entries to this week’s theme, or be inspired by other great games featuring Photo Mode. Want to be featured in the next Share of the Week?
THEME: Saros – Arjun Devraj SUBMIT BY: 11:59 PM PT on June 24, 2026
Next week, share portraits of Arjun as he explores the corrupted world of Saros. Use #PSshare #PSBlog for a chance to be featured.
Set to touch down on PlayStation 5 and PlayStation 4 on Thursday, July 9, Granblue Fantasy: Relink – Endless Ragnarok is a massive new expansion built to significantly evolve the high-flying action RPG that first captivated players in 2024.
At a recent press event, we had the chance to experience the new additions coming to Endless Ragnarok firsthand through an exclusive developer presentation and an early hands-on gameplay session.
For newcomer captains eager to take to the skies, a playable demo of the main Granblue Fantasy: Relink title is now available on PlayStation Store.
Dynamic character synergy power-up the evolved battle System
Endless Ragnarok injects a wealth of new content into the experience, introducing an all-new story arc, new playable characters, the game-changing Summon battle mechanic, a punishing new quest difficulty, the Master Trait progression tree, and a dedicated single-player endgame mode called the Conflux.
The expansion adds six fan-favorite faces to the playable roster: Gallanza, Maglielle, Beatrix, Eustace, Fraux, and Fediel. In addition to these allies, players will square off against formidable new skybound threats, including iconic bosses like Beelzebub and The World.
The new Summon system unleashes fresh tactical depth and spectacle
The crown jewel of Endless Ragnarok’s new mechanics is undoubtedly the Summon system. By equipping summons, earned as you progress through the narrative, you can call upon various characters during battle and take control of them. Because your character gains complete invincibility while a summon is active, this mechanic works beautifully not just as a devastating offensive push, but as a clutch counter against a boss’s most lethal attacks. With a diverse lineup of summons offering specialized roles in offense, crowd control, and support, your tactical options have never been broader.
The visual spectacle reaches a fever pitch with the introduction of Primal Burst. When your party performs a full chain of Skybound Arts under specific conditions, Lyria will unleash a powerful follow-up attack through a summon.
Battles heat up under the punishing new Chaos difficulty
For our hands-on session, we booted up a save file positioned right at the opening act of the Endless Ragnarok storyline. The moment the curtain rises on this new chapter, the quest counter unlocks its highest, most unforgiving difficulty rank: Chaos. In a terrifying show of force, even the very first quest—which functions as a tutorial for the expansion’s mechanics—plunges you straight into Chaos-level danger. Quests in this tier feature merciless new adversaries, like the apocalyptic beasts ragnalia, and bosses will aggressively utilize a terrifying, unique ability known as EX Burst.
When a boss enemy’s body radiates a distinct purple aura, it is your cue that an EX Burst is imminent. Facing these catastrophic attacks for the first time brings an incredible amount of tension. However, reading the telegraphs, discovering the counter-strategies, and perfectly timing your dodge windows to turn a crisis into an opening is exactly where Relink’s combat system shines. Veterans who have completely mastered the original game and crave high-stakes encounters will absolutely live for this thrill.
Conquer the Sky Realm by mastering your Summons
During our demo run, we had the opportunity to take the primal beasts Furycane and Managarmr out for a spin.
While Furycane requires a massive chunk of the summon gauge to activate, its rapid-fire slashes and tracking tornado combos are devastatingly potent. Closing the gap with a rushing strike before immediately transitioning into a flawless, high-damage combo feels incredibly smooth, and its massive scale on the screen delivers the pure, larger-than-life thrill of a premier summon battle.
Managarmr, by contrast, moves with a heavier, more deliberate pace, but it proves immensely dependable by automatically burying the field in a ferocious blizzard just as its summon duration expires. Because this attack inflicts the Glaciate status effect, it freezes enemies dead in their tracks, giving you a perfect window for crowd control. It is a fantastic example of how summons can be used for deep, defensive strategy rather than just raw firepower.
Crucially, equipping summons does more than just let you call for backup; they also bestow a variety of passive traits and skill effects upon your captain. Once players begin amassing a vast collection of these summons later in the game, theorycrafting the ultimate combination of passive stats and active summon timings is bound to become an absolute obsession. Plus, those precious invincibility frames during a summon act as a vital lifeline when your back is against the wall.
Hands-on impressions of the brand-new roster
We also took the time to test out two of the highly anticipated new playable characters: Gallanza and Beatrix. Gallanza is a textbook powerhouse who commands the field with a massive spear-axe. While his animations swing on the heavier side, his raw attack radius is exceptionally wide, making it immensely satisfying to shatter enemy defenses with a rhythmic succession of heavy-hitting strikes.
Beatrix, on the other hand, is a highly technical fighter who forces you to actively cycle through shifting offensive, defensive, and recovery self-buffs mid-combat. While she demands constant situational awareness and fast decision-making from the player, her potential to dynamically adapt to any role in a party makes her an incredibly rewarding character to master.
The solo-exclusive ultimate endgame: the Conflux
We closed out our session with the Conflux, a brand-new piece of content tailored specifically for solo play. In this mode, players fight their way through sequential zones, checking off specialized objectives mapped to each area. Upon successfully clearing a zone’s objective, you are prompted to choose one of three temporary perks that remain active strictly for the remainder of that specific run. The gameplay loop centers on methodically conquering rooms, stacking powerful buffs, and testing your limits as you plunge deeper into the abyss.
According to the development team, the Conflux was designed for players who prefer to avoid multiplayer matchmaking, allowing them to efficiently earn rare materials and high-tier equipment solo. The objectives that appear and the perks offered change randomly with every run, creating a highly replayable loop. Combining rogue-lite randomness with single-player-focused progression feels like a promising and fresh way to experience the game.
Our brief journey with this expansion left us deeply impressed by its newfound mechanical depth—from the tactical layers introduced by the Summon system to the addictive loop of the Conflux.
The VFX tech behind Saros: from NGP to Graphite https://ift.tt/Twc6pQK
Five years ago, we wrote about how the visual effects in Returnal came to life, including the real-time voxeliser that dissolved Phrike into volumetric fog. If you haven’t read it, that post is a good companion to this one.
This is how that story continues.
With Saros, we didn’t just extend what we’d built for Returnal. We stepped back, looked at thirty years of accumulated engine development, and rebuilt it as a unified framework: Graphite.
What we had, and why we changed it
Our proprietary particle engine, NGP (Next-Gen Particles), started as a prototype for Resogun in 2013 and grew with every game since, all the way to Returnal. By SAROS, NGP was mature, but it was also a product of twelve years of incremental decisions, each one made in the context of a specific, isolated game.
Then something else changed: us. Joining PlayStation Studios meant delivering experiences at the level our players expect, and our tools, and the names we’d given them, no longer matched the studio we were becoming.
Enter Graphite. It brings GPU simulation, rendering, tooling, and DCC integration under one architecture, built directly for PlayStation hardware. NGP didn’t disappear, it became part of Graphite, evolved and more capable than ever.
Every Housemarque game has a visual identity players recognise immediately. Graphite is what makes that possible.
And what it actually does, frame by frame, is best explained by the incredible people who built it:
Housemarque Graphics Architect Sharman Jagadeesan and Senior Graphics Programmer Konsta Toivanen will walk you through the volumetric fog in Saros: how it evolved from Returnal, and the two systems we built to make Carcosa’s atmosphere feel alive.
Risto Jankkila (VFX Architect) will explain how we extended Graphite with data from Houdini, including a full breakdown of the player spawn sequence.
Volumetric fog
Fog in games is often an afterthought, something that fills empty space and hides draw distances. In Saros, we wanted it to be a living part of the world, reacting to everything happening in it.
In Returnal, our volumetric fog was already reactive, but too low frequency, and heavy temporal filtering kept it from showing fine detail. For Saros we built two complementary solutions: low frequency fog for ambient atmosphere, and high frequency fog for the character effects seen in special story rooms in Carcosa.
Low frequency fog
We took Unreal Engine’s froxel fog, a frustum-aligned voxel grid, as a starting point and rebuilt significant parts of it to meet our vision.
The first challenge was temporal stability. The hysteresis coefficient controls how much of the previous frame’s data the fog holds onto: Unreal’s default of 90% keeps the image stable but makes the fog sluggish on fast-moving cameras and lights. We pushed it down to 50%, using blue noise jitter and depth clamping to keep the resulting aliasing under control.
Saros also needed fog that could represent everything from low density ambient mist to high density ground fog. To render these faithfully we used:
A dual Henyey-Greenstein phase function, modelling how light scatters forward and backward through the fog depending on viewing angle.
A coloured absorption coefficient, determining how much light is absorbed as it travels through a medium, for a far wider range of colours than traditional monochromatic solutions.
A self shadowing system that aggregates incoming light sources into a dominant shadowing direction and ray-marches toward it.
A physically based sky lighting integral, for accurate distant lighting without sacrificing performance.
Together these gave Carcosa’s atmosphere a grounded, physical quality.
Finally, the low frequency fog is fully interactive. Advection from our player-following fluid simulation feeds directly into the density hysteresis step, making every player movement, projectile, explosion, and enemy readable in the fog in real time.
High frequency fog
For the high-frequency fog we built a custom ray marcher. To keep performance in check while preserving fidelity, we cluster the scatter data into 8x8x8 voxel groups before marching, drawing only the clusters that contain data, with a user-defined threshold keeping their number in check. While marching, empty regions between clusters get skipped, letting the marcher take larger steps where it can.
For lighting, we evaluated a light volume per scatter volume, containing irradiance from all light sources, with pre-marched self-shadowing for every light voxel. We exposed parameters for albedo, absorbance, density, and shadowing, letting artists balance visuals against performance for each volume.
The two fog systems are then merged: we sample the low frequency fog’s scatter data during the high frequency march, and feed results back so both stay consistent with each other.
Use cases
We used the high frequency volumetric fog in a few scenarios. One use case was in the Prologue in the form of a smoky skull with cables attached to it. Another use case was with what we call Mirages. In four of our biomes there are specific narrative rooms where Arjun is faced with smoke creatures.
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Fog skull at the beginning of the Prologue
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Four story rooms with Mirages
Reactivity is key to all the VFX we make, and these effects were no exception. Since impact data doesn’t need high resolution, we store it in a separate, low resolution volume, which for the skull also holds its low frequency velocity field.
The videos below show that volume on the left, and combined with the skull on the right. Impacts are evaluated as a Signed Distance Field that closes back up over time, while velocity is shown in colour, you can see both the impact holes and the turbulence they create.
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Here’s the final skull effect without the cables and other secondaries and in a different environment.
The mirage effect is similar to the skull effect. The difference is that there are so called mirage “scenes” that rotate. We also used our real-time skeletal mesh voxelizer to bring existing meshes into the scenes. The video below shows a sweep between the voxelized result and the final result with advecting data from the previous frame.
Here’s the final effect with rotating two mirage scenes in a test environment. For reactivity, we used the same method described for the skull effect.
Extending Graphite with data from Houdini
In addition to improving the rendering quality of our volumetric effects we wanted to introduce new ways for our artists to author them.
Previously, volumetric effects were created by writing per-voxel expressions for density emission, combined with fluid simulations driving the advection (the directional movement) of the density field. Because this grid-and-voxel approach is the industry standard for film VFX, it was our natural first step as well.
From Returnal days: voxelising Phrike into a grid for density emission
During Returnal’s development, we realized we needed tighter control over exactly where density is generated. Per-voxel logic let us emit density on nearby surfaces or voxelised meshes, but anything more complex came with severe runtime overhead. Emitting density from just a character’s arm, rather than their whole voxelised body, was very difficult to do efficiently in real time.
Also from Returnal: full body density emission from the voxelised mesh
To solve this, we turned to particles to drive volumetric density emission. Graphite’s fully programmable particle system gave us a solid foundation for tightly controlled volumes, resulting in two new tools:
An Offline Houdini Data Pipeline: lets artists pre-compute complex, high-fidelity data in Houdini that would be too expensive to generate at runtime.
A Runtime Point Cloud Rasterizer: a high-performance component that takes simulated points and rasterizes them directly into a volume in real time.
Together, these freed us from stateless per-voxel expressions and rigid fluid simulations. Particles can now precisely follow a character’s animated mesh, giving artists full control over an effect’s behavior and lifecycle.
In practice, an artist imports an animated Saros character into Houdini and uses its tools to compute starting positions and attributes for an effect. That baked data feeds into the game engine, where real-time simulation takes over. In the video below, points generated in Houdini closely match the in-game character, and custom runtime logic detaches them from the enemy on bullet impact, so initial positions come from Houdini, but the behavior reacts dynamically to the player in real time.
Creating point data in Houdini
Using point data from Houdini in engine
Since artists can export any kind of data from Houdini to Graphite, it’s easy to go beyond static particles attached to characters. Below, particles flow across the surface of an animated mesh: the surface was unfolded in Houdini into a 2D simulation space, then exported and mapped back onto the animated mesh in real time.
Particle flow on Arjun’s body on the left. In the middle we extract an ISO surface from the particles. On the right we have volumetric fog emitted from the particle flow.
A prime in-game example of this technology in action is the player spawn sequence in Saros. This complex effect is built in multiple layers, starting offline in Houdini, where we generate splines directly onto the player’s skeletal mesh. When exporting these splines into Graphite, we treat each control point along the spline as an individual particle.
Simulating particle positions in Houdini. These are only used as target positions in the engine and the growth motion will be re-simulated dynamically during runtime.
At runtime, our programmable particle system controls how these elements behave over time. At first, the splines drift freely in space, then gradually guide back toward their target positions on the character mesh.
We wanted the player to look like they’re physically reforming from a pool of shifting “goo.” Marching Cubes gave us that viscous, solid-surface look, and controlling it with particles let us build a sequence where the player forms from separate strands into a character.
Marching cubes constructed from particle splines
Much like the splines that generated the goo surface, we can also emit volumetric density as well. In the spawn sequence we placed a number of particle splines near the player location and spawn volumetric fog from them to simulate rising steam or smoke.
Volumetric fog emitted from particle splines
As a final touch, we added spark particles that collide with the player character, using a signed distance field computed from the player’s collision capsules. The programmable particle system again gave us flexibility here: the player attracts particles, but once they get too close, the player mesh repels them, helping sell the look of emerging from hot, lava-like liquid.
Particles colliding with player capsule SDFs
Here’s everything combined. Every element is simulated at runtime, at 60 fps on base PS5, with no baked simulation assets. This lets us ship multiple spawn animations, each with slight randomization so it looks a little different every time the player wakes up.
Final player spawn sequence
An ever-evolving development journey
Reading through what Risto, Sharman, and Konsta broke down here, the goal for us and our technology has always been the same: every simulation, every effect, every rendering decision exists to make you feel something when you play.
Making games means believing in something you can’t yet prove, and the only people who can ever confirm it are the players themselves. Saros players told us, in their own words, that what we built mattered. And that means everything to us.
Our games will keep informing the technology we develop for Graphite, always showcasing what PlayStation as a platform can do. We can’t wait to share that future with you.
The Planet Crafter launches on PS5 July 21 https://ift.tt/ejEWLOn
Hello! I’m Amélie from Miju Games. We’re so excited for you to finally get to try our survival game The Planet Crafter when it launches on PS5 next month.
The Planet Crafter is unlike many of the survival games you’ve played in the past. When we were designing it, we sought to make a chill, non-violent survival experience. The Planet Crafter will still challenge you. The player has to carefully manage needs like oxygen, food, and water; especially early in the game, you can push your limits too far and discover that there’s a fatal result to that.
But this isn’t a game with jump scares and monsters. There’s nothing to dread behind that boulder or in the depths of that cave. But there is wonder. We’ve made some big worlds for you to explore, and secrets to uncover. The planets and moons you will find are evolving as you start the long journey to terraform them.
When you build heat pumps and drill into a planet’s core to raise the atmospheric pressure and temperature, you’ll find that the changes are more than just cosmetic. Maybe a glacier has melted, revealing a new valley you couldn’t access before. When life starts to take root in your world, perhaps you’ll notice trees growing that provide a bridge to a new location. The Planet Crafter is not a violent game, but we promise that it is full of adventure.
One point of inspiration for us when creating The Planet Crafter surprises people when we tell them. We’ve always appreciated idle games, and you’ll find some of that DNA in our game. When you build terraforming machines they keep operating as long as your grid has power. You’re always making progress towards that next terraforming milestone. We think that’s a great way of encouraging you to explore.
Let the machines do their thing while you go hunt for relics from a lost previous expedition, prospect for rare minerals in the shards of a fallen meteorite, or get acquainted with the new life forms that you’ve introduced into the world. In The Planet Crafter, things are always getting a little better.
We can’t wait to see the bases that you and your friends create in single-player or co-op in The Planet Crafter on PlayStation 5. The worlds we’ve created for you to terraform may be stark and desolate when you first arrive. But with a little effort, we hope you will find that they’re warm and inviting places for you to hang out. Good luck out there, and we hope to see you soon in-game.
Assassin’s Creed Shadows’ final update features Animus-bending endgame content Domains https://ift.tt/ejEWLOn
Assassin’s Creed Shadows will launch its final update on June 16, featuring a final story quest which sees Naoe and Yasuke face off against a mysterious pair of Templars and includes a few narrative connections to the upcoming Assassin’s Creed Black Flag Resynced. Plus, a whole new endgame feature called Domains will bring new ways for players to test their skills and builds in the ultimate arena. We sat down with Associate Game Director Simon Lemay-Comtois to dig into what Domains is and how it’s designed to break your beloved gear builds.
What is Domains?
Simon: Domains is a new Animus-bending activity that remixes some parts of Shadows and puts them into a very different, more fantastical context. It’s basically the final exam for Shadows players who love the RPG elements of the game.
It features five maps, known as Domains, and each time you play there will be different modifiers thrown in. You’ll need to switch up your build to suit the map, the challenges, and the modifiers.
What kinds of challenges can players expect?
Simon: Killing the Daishos in each map will unlock the final boss arena where you will take on one of three corrupted, Animus-altered boss fights, all while dealing with the modifiers. The harder the difficulty, the more modifiers you’ll have to deal with at once, and the more negative modifiers you are likely to get.
For example, in the easier challenges maybe you’ll get a health boost, but as you progress the deck becomes stacked against you. We also have Animus Exploits which you can use to nullify some of those modifiers, but if your build and skills aren’t on point, then you’re still going to have a rough time.
Are builds unique to Domains?
Simon: Builds carry over from the main game and anything you create in Domains will be usable there too, since it uses the same interface. The Animus Exploits can’t be used anywhere else, but equipment that you already have will be accessible in Domains and rewards you get will be accessible in the main game. Although, you might find your existing builds need some tweaking, especially as you get to the higher difficulties.
Which modifier is your favorite?
Simon: So, there’s one called “Like a Prayer” that creates a circle around you. That circle does damage over time, and breakable objects that end up inside the circle get destroyed: doors, barrels, everything just tearing itself to shreds as you advance through the world. It’s super cool.
What rewards can players earn in Domains?
Simon: There are a bunch of weapons and equipment that are completely unique to Domains, and you can’t get them any other way than completing the challenges. They’re not for purchase and they’re really a badge of honor for players who meet the challenges. And you won’t want to miss them, especially if you’re a fan of the Assassin’s Creed series.
This isn’t a narrative-driven feature, but it does fit within the context of the modern-day, real-world Animus setting. In Domains, you are dealing with a human rather than the AIs you interact with in the main game. MOD is a hacker who breaches the Animus and creates Domains, and if you dig around, ask some questions, and find a few little clues, you will get more context and lore about her and what the future might hold. There’s second-degree knowledge to gain from Domains, even though it’s not a narrative-heavy feature.
Is there any map that you think is more challenging than the others?
Simon: Oh, they’re all very challenging in different ways. For example, if you’re anxious about limited visual distance, the Whiteout Domain is inspired by the harsh winters of Canada, and it can be somewhat tricky to find your way around. I know Quebec City like the back of my hand, but in a blizzard that all goes out the window. But as you kill more and more Daishos, the weather should react and clear up which is a nice feature I wish I had during those Quebec blizzards.
Do you have any advice to help players master Domains?
Simon: Don’t sleep on Yasuke – a lot of players have put a ton of time into Naoe, but not so much into Yasuke builds. Sometimes he’s the only valid answer to certain modifiers. The power fantasy of Yasuke maxed out, being able to do everything with all his weapons, is definitely a good strategy for some of those domain runs.
Assassin’s Creed Shadows’ final update launches completely free on June 16 on PS5. Make sure to download the latest content to dive into the final chapter of Naoe and Yasuke’s tale and challenge yourself to unlock the exclusive rewards (and associated bragging rights) from Domains.
Last week, we asked players to share Duality using reflections, opposites, or anything that comes in pairs using #PSshare #PSBlog. Here’s are this week’s highlights:
Crimsonashtreeshares two different Conor’s in Detroit: Become Human
ContinuousGojoshares Cal Kestis undercover in Star Wars Jedi: Survivor
Mur4dQshares Mio and Zoe escaping a city in Split Fiction
Rorottinoshares Sam in a climactic battle in Death Stranding
Call_me_xaviishares Atsu and her mother in Ghost of Yōtei
Parmindernanglashares Miles and Peter in Marvel’s Spider-Man 2
Search #PSshare #PSBlog on Twitter or Instagram to see more entries to this week’s theme, or be inspired by other great games featuring Photo Mode. Want to be featured in the next Share of the Week?
THEME: Saros SUBMIT BY: 11:59 PM PT on June 17, 2026
Next week, Saros takes the spotlight. With the new photo mode update share your favorite moments from exploring Carcosa using #PSshare #PSBlog for a chance to be featured.
