• Sigma completes its trinity of f/2.8 zoom lenses for APS-C cameras
• The 50-120mm lens (75-180mm equivalent) comes to Sony, Canon and Fujifilm from October 22
• It weighs just 13.4oz / 380g and costs $799 / £699 (about AU$1,300)

Sigma has completed a trinity of f/2.8 zooms with the 50-120mm F2.8 DC OS Contemporary — and it proves that you don't need shoot full-frame to have access to exciting lenses.

Designed for APS-C cameras, the telephoto zoom has an equivalent focal length of 75-180mm, and sits alongside Sigma's 10-18mm F2.8 and 18-50mm F2.8.

What's particularly compelling about Sigma's latest f/2.8 zoom is just how compact, lightweight and affordable it is. It measures just 10cm / 4 inches long, weighs 13.4oz / 380g, and costs $799 / £699 (about AU$1,300).

I already own an incredible full-frame 70-200mm f/2.8 telephoto zoom, and it's my most-used lens for professional work. Portraiture, events, sports, even landscape photography — you name it, it can do it all.

That lens is a beast by comparison, however, weighing around 35oz / 1kg. For context, all three of Sigma's f/2.8 zooms for APS-C cameras combined weigh less and cost less — my full-frame lens cost me north of $2,000 / £2,000, which is around three times the 50-120mm's price.

With this new lens alone, Sigma has made APS-C cameras more compelling than before — but it's not good news for all photographers.

The f/2.8 zoom that Sony, Canon and Fujifilm cameras needed — but Nikon misses out

The Sigma 50-120mm F2.8 DC OS Contemporary goes on sale from October 22 in Sony E, Fujifilm X and Canon RF versions. Sony and Canon offer no such lens for their APS-C mirrorless cameras, while Fujifilm has the twice-as-hefty (and pricier) XF 50-140mm f/2.8 R LM OIS WR in its range. Nikon photographers, meanwhile, miss out entirely.

There was some consolation for Nikon photographers — Sigma simultaneously announced that its 16-300mm travel zoom is coming to Nikon Z mount. However, we don't know if the new 50-120mm will make it to the Nikon Z mount.

I haven't personally tested Sigma's 50-120mm F2.8 lens, but I have high hopes for it having already tested the ultra-wide 10-18mm F2.8 zoom for Sony and being thoroughly impressed — the new telephoto zoom is seemingly built to the same standard.

Yes, it misses out out that extra reach at the telephoto end, maxing out at 180mm rather than 200mm (and sadly it won't work with teleconverters to extend the reach), but presumably the thinking behind the focal length range was to make the particularly compact design possible — and that I can get behind.

Telephoto zooms are workhorse lenses, often used on long shoot days. A f/2.8 telephoto zoom that practically fits in the hand and weighs just a third of what I'm used to makes a strong case for APS-C cameras, and it seems that APS-C fans agree — one Reddit thread is already dubbing the lens "an APS-C legend in the making".

• Quick Spectral Super Resolution (QSSR) is Sony's new machine-based upscaling tech for the PS5
• Analysts at Digital Foundry say it has "remarkable" potential
• QSSR enabled in Marvel's Wolverine has an "exceptional" quality boost, while Ghost of Yotei "saw less dramatic improvements"

Sony has unveiled Quick Spectral Super Resolution (QSSR), its new AI upscaling technology built for the base PS5, and it can offer major image-quality improvements.

QSSR is different from PlayStation Spectral Super Resolution (PSSR), with Sony describing it as a "quick new evolution of PSSR" and "built on two key innovations," including a streamlined neural network architecture and a hand-tuned implementation that maximizes performance on PS5.

"While PSSR remains the gold standard on PS5 Pro, QSSR provides some notable improvements to both image detail and image stability on PS5," Sony said, with the first titles to use the tech being Marvel’s Wolverine and Ghost of Yōtei.

According to tech experts at Digital Foundry(DF), who went hands-on with QSSR and tested both games, they believe "The potential here is remarkable."

"Low resolution and poor upscaling have impacted so many titles in this generation, but QSSR could make a big difference," DF wrote. "In Marvel's Wolverine especially, the quality boost can be exceptional.

"In terms of image quality analysis, suffice it to say that temporal stability is substantially improved, detail level increases, sub-pixel integrity is considerably superior, while artefacts from elements like moving foliage are much reduced."

However, it notes that with Ghost of Yōtei, a game that already boasts gorgeous image quality, it "saw less dramatic improvements."

In its YouTube analysis, DF founder Richard Leadbetter showed off comparisons of QSSR enabled and disabled in both games; the analysts tested a Wolverine cutscene in Performance Mode uncapped, and there's a noticeable visual upgrade when the tech is on.

"The frame rate is lower," Leadbetter noted. "The headline number doesn't look great, right? A hit of about 8 to 10 frames per second [versus on/off]. But the important thing is the frame time cost of QSSR. By my calculation, it's between 1.5 to 1.8 milliseconds, and I'd say that's reasonable for an ML-based [machine-learning based] upscaler producing results like this from a low base resolution on hardware that doesn't have any form of ML acceleration."

Leadbetter deduces that the higher the output/input resolution is, "the bigger the frame rate hit will be."

In 60fps graphics modes where dynamic resolution scaling is being used, he said, "basically now we're getting the best of both worlds," as "Performance is practically identical" with or without QSSR enabled.

"The QSSR 'on' side will be lower in resolution to maintain frame rate," Leadbetter said, "but the quality of the upscaler is so much better that you're getting a better experience overall."

One clip shows a 1fps drop with QSSR on, but it's hardly noticeable, and while Ghost of Yotei running in Performance Mode uncapped VRR at 120 Hz does show frame dips when QSSR is enabled, they are "slight."

"Basically imperceptible for the most part," he said, "which is very different from what we saw with Wolverine, to the point where you know with the captures here, I had to recheck that QSSR was actually on because it just looks too good to be true here. There's no real performance here."

Like PSSR, QSSR is expected to be patched into more games and utilized in future PS5 titles; it's unclear right now whether Rockstar Games plans to take advantage of the tech in Grand Theft Auto 6.

The Sonos Ace Ultra just dropped, and they might just be my favorite headphones of 2026. They’re a considerable upgrade over the original Ace, boasting far better musicality, incredible movie audio, expanded Sonos ecosystem support, and seriously good ANC. It really feels like Sonos has made a statement with this release, and the multi-room specialist is finally ready to take on the titans of the headphone world.

But just how well do the Sonos Ace Ultra shape up against their class-leading rivals at this money? I wanted to find out for myself, so I tested them against one of their fiercest competitors: the Sony WH-1000XM6. Sony’s flagship headphones come in at the same price point as the Ace Ultra and they too supply stellar sound, noise-crushing ANC, and a swathe of fantastic features.

So, which headphones are better: the Sonos Ace Ultra or the Sony WH-1000XM6? I’ve compared them across four key areas: features, sound quality, design, and value, to help you decide which are the best headphones for you. The Sony WH-1000XM6 have been my go-to headphones for well over a year, but this contest was genuinely far closer than I’d expected. But anyway, let the battle commence — oh, and make sure to stick around 'til the end, for my verdict.

Sonos Ace Ultra vs Sony WH-1000XM6: price & availability

The Sonos Ace Ultra were released in September 2026, about two years after the original Sonos Ace headphones arrived on the scene. The Ace Ultra cost $449 / £399 / AU$699, which is cheaper than the standard model cost at launch in the UK, and the same price as the original Ace launched at in both the US and Australia.

Meanwhile, the Sony WH-1000XM6 are a little older, and hit the market back in May 2025. They cost the same as the Sonos Ace Ultra, carrying a price tag of $449 / £399 / AU$699. As they’ve been about for a little longer, it’s more likely that you’ll find these cans on sale, and we have seen them drop below $380 / £300 / AU$500 before. While neither of these models are cheap, they both offer incredible quality across the board, with excellent sound quality and features, which helps to justify the steep asking price.

Sonos Ace Ultra vs Sony WH-1000XM6: specs

Sonos Ace Ultra vs Sony WH-1000XM6: features

Let me be clear from the offset: when it comes to features, these two pairs of wireless headphones are arguably the very best on the market. So, as you can imagine, it’s hard to pick a winner here.

The Sonos Ace Ultra and Sony WH-1000XM6 share a lot of the same positives: they each have extensive EQ options, with multi-band custom options, wired and Bluetooth connectivity, wear detection, and impressive ANC.

When it comes to noise-cancelling specifically, both are excellent performers, and easily dispose of external sounds like surrounding chatter and traffic noise. In my testing, I found the Sony WH-1000XM6 to have a very slight edge, though, perhaps lending to their larger microphone system (12 mics to the Ace Ultra’s 10) — they dulled deep sounds like engines rumbling to slightly greater effect.

Something that the Sonos Ace supply that Sony can’t compete with, is wider ecosystem support. TV Audio Linking enables you to transfer audio from a compatible Sonos soundbar and enjoy immersive sound privately, while Headphone Linking gives you the option to hand off audio to supported speakers, including the Sonos Play (or vice versa) for a seamless listening experience, no matter where you are.

Another thing that I love about the Ace Ultra is their native Dolby Atmos support. This means you can enjoy Dolby Atmos music and movies at their very best, and with the help of head-tracking, I’ve been able to enjoy deliciously expansive movie audio with impressive height effects and clear dialogue to boot. The Sony WH-1000XM6 aren’t as accomplished for movies, and while they feature a Cinema upmix mode, which transfers a stereo signal into a more expansive format, the actual quality of this is a little disappointing.

While we’re on the topic of sound-related features, it’s worth talking about codecs. Each of these headphones possesses something the other does not. And that’s because the Sonos Ace Ultra boast aptX codec support — something Sony skips on — while the XM6 feature LDAC, which their competitor leaves out. Both of these open up higher-res Bluetooth streaming, opening up a more detailed listen than you’d get with SBC or AAC, for instance.

The key differentiator here is compatibility. Apple fans, I’m sorry, but your phone supports neither of these. Android users, there’s a very high chance that your handset can make use of LDAC, which is actually a proprietary technology developed by Sony itself. However, it’s a different story with aptX. Fewer phones support this, and although I get to enjoy it on my Xiaomi 17, a lot of models leave it out. Both models support lossless wired listening, although only Sonos has USB-C audio passthrough, which is more convenient in my view — after all, so many of us carry around USB-C cables to charge our phones and other devices

In terms of battery life, these cans are close, but Sonos is the overall winner. The Ace Ultra provide 35 hours of playback with ANC switched on, whereas Sony give you 30 hours. That’s a pretty average amount of playtime to get from headphones in this price-class, but if you do run out of charge, you can use both pairs while they regain life via USB-C.

Finally, a word on controls. The Sonos Ace Ultra feature responsive, well-sized, and precise button controls. But they don’t have touch controls, something the WH-100XM6 pull off brilliantly. Sony’s cans have reactive and intuitive touch controls that I love. A single press won’t trigger anything so you can avoid accidental commands, but you can swipe on the right earcup to adjust playback and even cover it with your hand to enter into transparency mode. As much as I appreciate the reliability of Sonos’ buttons, I prefer Sony’s approach.

So, who’s the winner in the features category? It’s such a close one: I think Sony has a slight edge in ANC, I like the touch controls, and the broader compatibility of LDAC is a win. However, Sonos’ ecosystem interplay, native Atmos support, USB-C audio, and better battery life is pretty impressive too. Let’s call this category a tie.

Sonos Ace Ultra vs Sony WH-1000XM6: sound quality

While both of these headphones sound great, and there’s not a big different in quality, there’s only one winner for me.

The Sonos Ace Ultra made a big step up from the original Ace, especially when it comes to musicality. They provide well-balanced sound, with satisfyingly deep, regimented bass, clean mids, and expressive highs. But how do they compete against the Sony WH-1000XM6?

Well, allow me to reference my listening notes. In the funk tack, Joía rara by Brylho, both sets kept electric guitars well-separated from vocals and other instruments in the mid-range, almost making it sound as if they were playing in a unique pocket. Both also plated up well-weighted, clean bass, and finer details, like subtle percussive elements came through nicely. I did find, though, that the XM6 handled vocals with a bit more care — they sounded a bit more natural, and more effectively defined in the mix.

Moving onto a house track next, with Get it on by Jansons. This was a tight contest, the Ace Ultra’s deep bass came through with palpable impact, and higher-pitched drums sounded tastefully forward without getting shrill or tinny. It was the same on the XM6 — thumping yet agile bass alongside bright and precise treble, helping to capture the exciting, energetic vibe. I perhaps found that the XM6 offered slightly better dynamism, though — drops just had a bit more impact, which isn’t to say that the Ace fell flat, they were just marginally outclassed.

More generally, I found that the XM6 slightly edged out the Ace Ultra with more dynamic low-end output and better detailing, especially in the mid-range.

It’s worth noting that I do consider the Ace Ultra to be superior for movies. They have native Dolby Atmos support, and with built-in head-tracking, you can experience truly mesmerizing audio for all your movie-watching needs. When I connected the headphones up to the Sonos Beam Ultra via TV Audio Swap, I was blown away by the fidelity of height effects, the phenomenal width, and clear dialogue available. Sony’s headphones are good for movies, and they do feature some head-tracking technology (albeit more restrictive), but the Ace Ultra were clearly designed with movies in mind to a much greater extent.

Still, it’s important to have some perspective. The vast majority of people aren’t buying wireless headphones solely to watch movies. The most important thing is portable musical performance, and while the Sonos Ace Ultra get close to the Sony WH-1000XM6, they fall just short overall — and as a result, I’m handing Sony the W here.

Sonos Ace Ultra vs Sony WH-1000XM6: design

At a glance, these headphones might not look wildly different, especially as I tested two very similar colorways… but there are some notable deviations worth discussing.

In my view, the Sonos Ace Ultra are the better looking pair of headphones. They have a slimmer form factor with flatter ear cups, which look a bit more flattering than the XM6’s bulky ones. Their metallic details and curved look also gives them a premium yet understated aesthetic which I can’t get enough of.

The XM6 aren’t bad-looking at all, I just don’t think they quite match the luxurious vibe of the Ace Ultra. But what I do like about these is that they’re fully foldable. This means they’re amazing for travel — just fold’ em up, throw them in your bag, and you’re good to go. The ear cups can fold down on the Ace, enabling them to fit in their carry case, but they’re not quite as flexible as Sony’s flagship model.

On the topic of cases, Sony takes the win here. They have an enticing hard case which uses a magnet lock, meaning it’s so quick and easy to whip them out or stow them away. The Ace Ultra’s case doesn’t have the same premium feel, and it also has a pretty low-quality zip that jams a bit too regularly for my liking.

Neither of these models have an IP rating, which denotes dust and waterproofing capabilities — something that, in fairness, is rarely seen on over-ears (though some, like the Noble FoKus Artemis, do boast an IP rating).

But both models are very comfortable and don’t clamp too hard on my head, which makes it easy to listen to music for hours on end. This means they’re pretty close overall in the design section, but personally, I’d take the sleeker look and more luxurious design of the Ace Ultra over the XM6 — even if the latter are fully foldable and have a better carry case.

Sonos Ace Ultra vs Sony WH-1000XM6: value

So, it’s been a tight contest so far. And when you consider that both the Ace Ultra and XM6 have the same list price, deciding which offers better value for money is very tough indeed.

The truth is this: the better-value model is going to be very dependent on your needs and expectations. If you already own a Sonos system, and want interplay with your speakers and maybe even a soundbar, then the Ace Ultra are incredibly attractive. Their ANC and sound quality isn’t far off the XM6’s, they’re superior for movies, and I think they’re more stylish too.

But if you want the best all-round pair of headphones in this price bracket, I still don’t think you can beat the Sony WH-1000XM6 right now. They offer slightly more detailed, dynamic audio than the Ace Ultra, their ANC is class-leading, and they have no shortage of features, a fully foldable design, and their battery life is close to that of their Sonos rival.

In the context of this showdown, the XM6’s older age also works in their favor somewhat — we’ve seen them go on sale a few times here and there, so chances are, you’ll be able to swipe them up for less than the Ace Ultra in practice. I think you’ll be exceedingly happy with either of these models, but unless you want interplay with your Sonos system and top-tier Atmos for movies, then I think the Sony WH-1000XM6 give you ever-so-slightly more bang for your buck.

Sonos Ace Ultra vs Sony WH-1000XM6: verdict

So, there you have it. As I mentioned in the value section, it’s been a close affair, but I think the Sony WH-1000XM6 are the best headphones for most people at the time of writing. Ultimately, their marginal wins over Sonos in terms of ANC, musicality, and flexibility give them the edge.

If you have a Sonos system, though, I do think the Ace Ultra are worth picking for their seamless connectivity with your speakers and soundbar. And the Ace Ultra do offer a few improvements over Sony’s cans, like higher battery life, a more luxurious look, and better sound for movies.

Both are great options, however, so you can feel confident in your choice, whether you opt for Sonos or Sony. But what do you think? Would you choose the Sonos Ace Ultra or Sony WH-1000XM6? Let me know in the comments.

RGB mini-LED (and its other various names) continues to be the talk of the TV world, with nearly every brand getting involved with the new tech in 2026. I’ve tested several RGB mini-LED/Micro RGB TVs and while it’s been a mixed bag, the new tech shows promise. While these TVs still can’t quite beat the best OLED TVs for the place at the top of the TV food chain, there’s certainly been some impressive RGB models.

One of those is the flagship Samsung R95H, which earned 4.5 stars out of 5 in my recent review. Another is the ‘mid-range’ Sony Bravia 7 II. When I compared both the R95H and Bravia 7 II, I was impressed by the fight the much cheaper Bravia 7 II put up: especially with its picture quality.

Well, now the Bravia 9 II, the Bravia 7 II’s step-up sibling and Sony’s flagship RGB TV, has arrived in our testing lab and since I still have the Samsung R95H in, I thought I’d compare the two to see which flagship RGB model is the top dog.

A quick note on photos: the R95H appears to have a red tint in some images below, but this is the camera interacting with the R95H's matte screen. This red tint does not appear in-person.

Color

The big selling point of RGB is its color reproduction. And as expected from two flagship models, colors look very impressive on both the Bravia 9 II and the R95H. Watching The Super Mario Galaxy Movie, any scenes involving the Lumas showcases RGB’s excellent colors. While the R95H demonstrated higher color luminance, meaning color looked brighter, the Bravia 9 II’s colors appeared much richer and deeper, giving the Lumas themselves a perceived crisper texture.

As for the character’s outfits throughout the movie, it varied from scene-to-scene which TV produced better colors. Peach’s pink dress benefitted from the R95H’s higher perceived brightness in some scenes, while in others, the Bravia 9 II’s bolder colors made it pop more. The same was true with the reds of Mario’s overalls and Luigi and Yoshi’s greens.

Switching to a real-world movie, Speed Racer, it was more of what I’d found when watching the Mario Galaxy movie. During the breakfast scene at the Racer home, I found some colors, such as yellow, looked better on the Bravia 9 II with the added color depth, while some paler colors such as orange looked more natural on the R95H. The R95H’s higher perceived brightness definitely made colors more impactful, but overall I found myself drawn to the Bravia 9 II’s deeper color profile.

In terms of skin tones, both TVs showed excellent accuracy, making characters on screen look lifelike. In this scenario, I did find the R95H’s brightness made people look more true-to-life, which I preferred. But the Bravia 9 II did use shadows and contrast in an interesting way to make people look dynamic.

Contrast

One of RGB’s other selling points compared to other backlit TVs is better backlight control and OLED-rivaling black levels and while this has been a mixed bag in my previous testing of other RGB TVs, these two flagship models demonstrate excellent contrast and backlight control.

Watching The Batman, both TVs demonstrated strong contrast. As Bruce works in the Batcave at his desk, the light tones of the bright monitors and desk lamps around him contrasted well with the dark tones of the environment and the crevices around the desk. While the R95H’s higher brightness meant some dark areas were more legible, the Bravia 9 II demonstrated richer blacks that created stronger perceived contrast.

Although both TVs were able to render the often challenging picture of The Batman, due to its low brightness, in bright conditions, it was definitely best viewed in ambient or dark, home theater conditions. I also found the R95H’s Movie mode could over-do its brightness, resulting in clipping of bright objects. For The Batman, it was best to use Filmmaker Mode. The Bravia 9 II looked great in Movie mode and Professional mode (its name for Filmmaker Mode), although it lost some of the impact in its contrast when viewed in the dimmer Professional mode.

Switching to Project Hail Mary, both scenes delivered inky black tones during exterior shots of space, as well as demonstrating strong shadows as Ryland Grace explored the Hail Mary. I did find that the Bravia 9 II’s local dimming could be aggressive in places, resulting in some black crush in certain scenes. Still, black tones and contrast were incredibly impressive for a backlit TV, and the lack of blooming showed just how good the Bravia 9 II’s backlight control. Though not as impressive, the R95H also showed brilliant backlight control: much better than most backlit TVs I’ve tested.

While the same movies still had more dynamic contrast on the OLED TVs I’ve tested such as the LG G6 and Samsung S95H/S99H, this is certainly a big step in the right direction for backlit TVs.

Brightness and reflections

Starting with brightness measurements, I was surprised by how big the gap was between these two TVs: and which was brighter based on testing. The R95H hit 1,977 nits and 612 nits peak and fullscreen HDR brightness respectively in Filmmaker Mode, while the Bravia 9 II registered a much higher 4,414 nits and 974 nits peak and fullscreen HDR brightnrss respectively in its Professional mode. This is a much wider gap than I expected, made all the more interesting on how these TVs rendered brightness in practice with real-world movies.

In the majority of scenes I watched, the R95H delivered higher perceived brightness in both large areas and highlights in high-contrast scenes, such as the lights in the Batcave in The Batman, despite its much lower measured brightness.

Watching a real-world bright scene from Lawrence of Arabia, as Lawrence and his guide were fetching water from a well in the desert, the white sand around them was brighter on the R95H than the Bravia 9 II. HDR highlights in other movies, such as the white paint job of the Mach 5 in Speed Racer or the lights of all the consoles and switches of the ship in Project Hail Mary were closer in brightness and would sometimes alternate on which was brighter but for the majority, the R95H was much more impactful.

This is something I've found in the past when measuring TVs: measurements don't always match up in practice, and I'm noticing that RGB TVs tend to have the biggest difference between results and real-world application. Still, both TVs did deliver impressive brightness overall.

One area where both these TVs really impressed me was in their reflection handling. The R95H obviously uses Samsung’s Glare Free matte screen, which has proven to be incredibly effective at eliminating mirror-like reflections. The Bravia 9 II is also equipped with an anti-reflective screen, and it’s a big improvement over the step-down Bravia 7 II. Watching darker scenes, I was surprised at how little mirror-like reflections were on the Bravia 9 II.

Which TV is the best buy?

Both the Bravia 9 II and R95H are fantastic TVs. They show a clear evolution of what is capable from a backlit TV and while again I still think OLED is the best TV panel tech, it’s a positive sign of what’s to come from RGB if this is how it performs in its infancy.

When it comes to which TV is best out of the two, I personally preferred the Bravia 9 II’s picture, thanks to its richer, OLED-like colors and richer black tones. The R95H has the brightness battle won and delivers amazing pictures in its own right, but for me the Bravia 9 II takes what I loved about the Bravia 7 II and builds on it.

That being said, price is a factor. For a 65-inch Samsung R95H, you’ll be looking to pay roughly $2,799 / £2,799 / AU$4,495 (though I’ve seen the R95H drop to as low as AU$3,499 in Australia). A 65-inch Sony Bravia 9 II will currently set you back $3,499 / £3,499 / AU$5,999. Considering the R95H is actually packed with more features for gaming, such as four HDMI 2.1 ports, and has a better interface, the extra money is a tough ask.

At the moment, the R95H is the better buy, but if the Bravia 9 II’s prices can be more in-line with its rival, then the Bravia 9 II’s picture is worth the sacrifice of some features. That being said, I’d still recommend OLED right now, as you can get flagship OLED’s from both Sony and Samsung that are the same price or cheaper.

Thinking of buying a new TV?

Try our TV size and model finder! You tell it how far you sit from your TV, we'll tell you what size to buy based on viewing angle advice from image quality experts, and we'll recommend our three top TVs at that size for different prices.

• A new PlayStation Portal software update has been released
• The update introduces a new 80% default charging limit to ensure the device's long-term battery health
• Players can increase the limit manually, but Sony advises against it

Sony has rolled out a new PlayStation Portal software update to improve stability and support the device's long-term battery health.

As detailed in the version 7.1.7 patch notes, the update "introduces changes to how your PS Portal charges in order to support the long-term battery health of your device" and means that it will now charge to just 80% by default.

While 80% is the default limit, users can increase the cap at any time in Settings > System > Battery; however, Song strongly recommends the alternative as it could impact the PS Portal's longevity.

"Selecting a charge limit over 80% might impact battery performance and overall stability, reducing long-term battery health," the patch notes.

It's reasonable to want to charge your device to 100% every time the battery depletes, but Sony's new default charge limit sounds like a great solution if you want to keep your PS Portal in good shape for a long time.

The full version 7.1.7 patch notes can be read below.

• This update introduces changes to how your PS Portal charges in order to support the long-term battery health of your device. After updating, your device will charge to 80% by default. You can change the charge limit at any time in Settings > System > Battery.
  • Selecting a charge limit over 80% might impact battery performance and overall stability, reducing long-term battery health.
• Make sure to update your PlayStation Link device to the latest device software version to connect to PlayStation Portal.
  • To update your PlayStation Link device, connect it to a PS5 or PC using its PlayStation Link USB adapter. For more details visit the guides below.
• We've improved system software performance and stability
• We've improved the messages and usability on some screens

• A regular leaker says the chips for the PS6 and Xbox Helix have been 'taped out', meaning the design is final for manufacturing
• The leaker claims 56 TFLOPS of power for the Xbox Helix and 40 TFLOPS for the PS6
• That compared to 16.7 TFLOPS on the PS5 Pro and 12 TFLOPS on the Xbox Series X

The launches of next-gen console hardware from Sony and Microsoft are edging ever closer, and the latest rumor doing the rounds suggests that the chips for both the PlayStation 6 and what's being called the Xbox Helix are now 'taped out' — as in, finalized for submission to chip manufacturers.

This comes from well-known tipster KeplerL2 (via VideoCardz), who also predicts 40 TFLOPS of performance for the Sony hardware and 56 TFLOPS for the Microsoft hardware. That's Tera Floating-Point Operations Per Second, or how many trillions of calculations a processor can do in a single single.

While TFLOPS gives us some indication of how powerful these consoles will be, they're not the whole story, as architecture choices and memory bandwidth will play significant roles too. That said, it seems the Xbox console may have a major edge in terms of raw power — although the Xbox Series X had a 20% edge on TFLOPS over the PS5 back in 2020 too, which didn't necessarily translate into better-looking games.

Direct comparisons with current generation consoles are tricky, as so many other variables will be changing as well as TFLOPS figures, but TweakTown reports that the PS5 delivers 10.28 TFLOPS, the PS5 Pro offers 16.7 TFLOPS (typical) and 18.05 TFLOPS (peak), and the Xbox Series X can hit 12 TFLOPS.

But how much will it cost?

Both the Xbox Helix and the PlayStation 6 are expected to be based on the AMD Zen 6 family of CPUs and the AMD RDNA 5 GPU architecture, if previous leaks are to be believed, and there has been talk of 30GB of RAM being packed inside the Sony console (no RAM predictions yet for the Microsoft one).

Judging by the ongoing discussion on Reddit, gamers aren't placing too much stock in these leaked TFLOPS numbers, as they aren't guaranteed to convert directly into gaming performance. The bigger debate seems to be over how much Sony and Microsoft are going to charge for these next-generation machines.

There are mentions of "an inevitably massive price hike" while another user is prepared to "say goodbye to affordable console hardware" in this generation. As we've already seen with the Steam Machine, the ongoing shortage of memory chips is driving up prices across the board, including in gaming hardware.

As for when we might actually see these consoles, don't hold your breath: experts say a launch before 2028 is unlikely, even if the design for the main processor chips have now been finalized. We'll just have to fill the time exploring everything Grand Theft Auto 6 has to offer in the meantime.

• Key LCD panel makers are upping prices this month, which is a crunch manufacturing period ahead of Black Friday and end-of-year sales
• There are only three TV LCD panel manufacturers, and all have decided to protect profits with price rises, reportedly
• Samsung's is also said to be cutting QLED TV production by up to 80%

If you're planning to pick up a super-cheap big-screen LCD TV for Black Friday this year, you may need to temper your expectations.

Key LCD panel makers have reportedly told manufacturers including Samsung, Sony and LG that they're putting their panel prices up just in time for production ready for the busiest sales period of the year.

Samsung Display doesn't make LCD panels any more, and LG Display has also stopped making them. That means the big TV brands are reliant on a handful of Chinese panel producers who now dominate the market: BOE, TCL CSOT, and HKC.

Those producers aren't running at full capacity, but rather than increase supply and potentially lower prices, they're restricting production to "contain oversupply and defend prices", according to The Elec.

TCL CSO and HKC will raise the price of some products this month, September 2026, with BOE upping prices in the fourth financial quarter. As The Elec notes, "concerns that China’s dominance of the LCD supply chain would translate into greater control over panel prices are becoming a reality."

The price hikes leave the big-name TV manufacturers in a bad place, because they will have locked in their LCD panel orders for Black Friday and the holidays already, and it'll be difficult for them to change their production plans.

That means price hikes on the panels used in affordable sets, which already have razor-thin profit margins, could have an effect on how exciting the TV deals on LCD models this year — and with giant-screen LCD TVs being the super-popular pick right now, it could make a real difference.

Does the Q in Samsung QLED stand for "quitting"?

In another blow for price-conscious LCD buyers, Samsung is reportedly scaling down production of its QLED TVs dramatically, by up to 80% this year, while considering dropping QLED altogether by 2028.

QLED takes LCD panels and applies a layer of quantum dots to deliver better colors, and launched as a more affordable and very bright rival to OLED. However, as the best OLED TVs continue to get better and have a big grip on the premium end of the market, QLED has become a tech you see a lot on budget models.

According to ETNews (via FlatpanelsHD), Samsung is slashing QLED production from 10 million units to 2-3 million units this year and shifting its focus to mini-LED-branded and Micro RGB LED TVs.

The high-end Neo QLED lineup is being slashed too: "Samsung Electronics' QD TV shipment plan this year has been significantly reduced to less than 30%. Neo QLED will also produce only half of this year next year and gradually stop manufacturing."

In 2026, Samsung launched a new line of budget "Mini-LED" TVs that don't include QLED tech, including the Samsung M80H, which we tested alongside one of Samsung Neo QLED QN80H, and found to be a clear step down in image quality.

At the other end of the scale, we reviewed the flagship Samsung R95H Micro RGB TV, which also doesn't use QLED tech, and found it to be "a brilliant evolution" of LCD technology.

Quantum dots aren't dead, though: according to FlatpanelsHD, Samsung is continuing to invest in QD-OLED and in future technologies such as QD-EL, aka NanoLED, which is basically the quantum dot equivalent of OLED.

But we have to assume that if Samsung is already wavering over the viability of its QLED screens, a price rise in the panels it buys will probably just be another nail in the coffin.

Thinking of buying a new TV?

Try our TV size and model finder! You tell it how far you sit from your TV, we'll tell you what size to buy based on viewing angle advice from image quality experts, and we'll recommend our three top TVs at that size for different prices.

If you followed the release of the new Canon EOS R8 Mark II, you might be wondering what the feature pre-continuous shooting is, otherwise known as pre-capture (Sony and Nikon), Pro Capture (OM System), Pre-Burst (Panasonic) or Pre-shot ES (Fujifilm).

The feature has been around for a while now having been introduced by OM System (Olympus), and it’s slowly worked its way across brands and into affordable models, including the R8 II, Sony A7 V and Nikon Z5 II.

I'm here to explain pre-capture, and show you the benefit of this feature with images I wouldn’t have otherwise been able to capture without it. Let’s dive in.

What is pre-capture and how does it work?

Picture this — you’ve got your camera fixed on a subject, poised for the action to happen; athletes on the 100m start line, a kingfisher on a branch that could take flight at any moment, a potential goal in a soccer match.

Sometimes your reactions aren’t up to speed to capture the key moment, and it's gone before your finger has pressed the shutter button. It’s exactly these scenarios that pre-capture is designed for, and it's the feature that helped me get the images of birds in flight, where previously I’d have missed the moment or simply settled for ones of them perched on branches.

Pre-capture gives you up to a 1 second head start (depending on the model) before the shutter is pressed, continually shooting (to a temporary buffer) before you press the shutter button, at which point the images shot in the specified time before the shutter button was fully pressed are recorded retrospectively.

With pre-capture on, it's typically initiated by half pressing the shutter button (or fully pressing an assignable button, such as the autofocus button), as is the case with the Sony A7 V I used to take the pictures in this feature.

The Canon EOS R8 Mark II, for example, can shoot up to 40fps and offers up to 0.5 second pre-capture, meaning you can retrospectively record a 20 photo sequence in the half second before you press the shutter button. The Sony A7 V can shoot up to 30fps with up to 1 second pre-capture, so that’s up to 15 images.

How to use pre-capture effectively

I recently got into bird photography and it didn’t take me long to bag some beautiful photos of the varied birdlife in my local nature reserve and wetland, using some superb review gear — including the Sony 400-800mm F6.3-8 super telephoto zoom lens.

As enjoyable as this hobby is (and it really is), soon enough I was considering how I could mix up the kind of photos I was making, besides stationary birds on branches. Pre-capture came to mind. How about capturing photos of the birds taking flight?

Birds in flight is one of the toughest photography challenges — as I found out during a recent hands-on with the Fujifilm XF 400mm F4.5 R LM WR lens at a birds of prey experience. And that was when I had some idea of where the birds would be flying. But wild birds in flight? Nigh on impossible, I thought.

I chose the most appropriate autofocus mode (in this case bird subject detection), the continuous high drive mode (30fps), set a suitably fast shutter speed to freeze movement (1/1000sec, wasn't fast enough it turned out) and, of course, activated pre-capture. I started with the maximum time possible of 1 second, though the camera in question has options from 0.1 sec to 1 sec in full decimal points.

Pre-capture helped me get the shots you see in this article, but there were a couple more non-technical ingredients in the recipe: an eye for the shot and, ultimately, patience.

Once I had the composition and subject I liked, I kept the camera locked in with the shutter half pressed and waited for the bird to take flight. Many times the bird was content for several minutes, and I could feel my finger / thumb burning by the time it moved.

On my first attempt I thought I had missed the moment even with pre-capture active, but low and behold my slow reactions were redeemed.

I think my patience has paid off. Yes, the photos of the birds stationary are still lovely, but the ones of them in flight in an already well-composed scene take them to new heights.

There are plenty of other scenarios that benefit from pre-capture, and if you’re a keen sports or wildlife photographer it’s well worth trying out — I’ve included a list of recent cameras equipped with the feature, plus shopping links, below.

Cameras with pre-capture

The following cameras are listed as having each company's version of pre-capture:

• Canon EOS R1, EOS R5 Mark II, EOS R6 Mark II, EOS R6 Mark III, EOS R8 Mark II
• Nikon Z9, Nikon Z8, Nikon Z6 III, Nikon Z5 II, Nikon Z50 II
• Sony A9 III, Sony A1 II, Sony A7R VI, Sony A7 V
• OM System OM-1, OM1 Mark-II, OM-5 Mark II, Olympus OM-D E-M1 X, E-M1 Mark III, E-M1 Mark II, E-M5 Mark III, Tough TG-6, Tough TG-7
• Panasonic Lumix G9, Lumix G9 II, Lumix S5 II / X, Lumix S1 II, Lumix S1 II R
• Fujifilm X-T5, X-T4, X-T3, X-T30 III, X-T30 II, X-T30, X-H2S, X-H2, X-Pro3, X100VI

• Sony has revealed two new PlayStation headsets
• They're intended to supersede the previous PlayStation Pulse models
• There's no word on pricing yet

Sony has just unveiled the "next line of PS5 audio products" with two new PlayStation Pulse wireless gaming headsets.

Both models are intended to supersede the old PlayStation Pulse Elite, which was released in 2024. The new PlayStation Pulse Edge boasts custom planar magnetic drivers that deliver "studio-inspired" sound and has eight magnets under the hood.

It comes with a detachable boom mic offering AI noise rejection alongside a USB Type-C adapter and premium carrying case.

Major features include built-in volume controls that integrate with the console's operating system, a game audio and chat balance slider, and active noise cancellation.

The upcoming PlayStation Pulse, in contrast, is positioned as a more entry-level model. It cuts the number of driver magnets down to four, which likely means less bass and reduced clarity. There's no boom mic either, so you need to rely on an integrated microphone instead.

It also loses the game audio and chat balance feature, lacks active noise cancellation, and isn't bundled with any kind of case.

Sony has been quite cagey about pricing, with no word on how much either model will cost on the official PlayStation Blog. This makes it hard to determine whether this refreshed line will offer good value, especially given the abundance of excellent headsets currently offered by third-party brands like SteelSeries and Corsair.

We do know that both models will be available in both white and black, however, and will hit shelves early next year.

They will also connect to the PlayStation Portal out of the box, thanks to their native PlayStation Link compatibility.

• Sony corrected reports claiming its disc production would collapse by 90%
• The company's final disc plant will reduce output by 10%
• Sony still plans to stop producing new physical games in 2028

Sony has denied reports suggesting it plans to abandon physical disc manufacturing entirely, despite widespread speculation surrounding its future operations.

The company instead confirmed that its sole remaining disc-making plant will simply reduce output by 10%, not the previously reported 90%.

Sony DADC clarified the figure after earlier remarks caused considerable confusion among industry observers.

Clearing up a misread statement

“To clarify and avoid any misleading information: in that statement Dietmar anticipated an overall product volume decline by 10 percent, not a decline down to 10 percent,” said a Sony DADC spokesperson.

The correction arrived roughly two months after earlier reports claimed the plant was already being repurposed away from discs entirely.

Sony has consistently maintained that new physical game production will still end entirely in January 2028, despite this week's clarification.

The clarification means Sony's Thalgau plant will still operate at nearly full capacity beyond the original 2028 cutoff for releases.

Sony DADC did not respond to a separate fact-check request regarding whether all 300 plant employees face retraining toward alternative roles.

Reports from earlier this year suggested employees were being shifted away from discs toward microlens production at the same facility.

Discs survive, but ownership questions remain

Sony confirmed publishers may continue reordering existing disc-based games even after new physical production formally ceases in January of 2028.

PlayStation disc games already on shelves will remain available to buy for the foreseeable future.

This arrangement suggests the transition away from physical media will happen gradually rather than through an abrupt cutoff for publishers.

Even so, wider industry trends continue pointing toward digital distribution gradually replacing physical discs across most major platforms.

Several major publishers remain notably absent from Microsoft's own separate disc-to-digital initiative, raising questions about industry cooperation levels.

Sony recently argued in court that consumers cannot reasonably believe they truly own purchased games, since copies can exist simultaneously.

This legal stance, combined with the recent production clarification, still leaves genuine uncertainty around long-term disc availability for players worldwide.

Sony's carefully worded statement corrects one misunderstanding but does little to settle deeper doubts about ownership rights among consumers today.

Whether the Thalgau plant continues producing discs well beyond 2028 also remains unclear, given how quickly assumptions were proven wrong.

Consumers hoping for full clarity on Sony's long-term disc strategy will likely need to wait, since key details remain unconfirmed.

For now, the disc format appears to be shrinking gradually rather than disappearing suddenly, as many observers had initially feared.

Via The Verge

• PlayStation cuts ties with Kojima Productions for upcoming Physint game
• Hideo Kojima states PlayStation tried to cancel Physint, so he decided to look for a new partnership
• Xbox and Kojima Productions now have a partnership for Physint and future projects, including OD

Sony dented its reputation in the gaming industry with its announcement that it would be ending the production of physical game discs — and the trend of controversial decisions is still going strong.

PlayStation has cut ties with Kojima Productions for its upcoming game, Physint, and Xbox has swooped in as a replacement in a new partnership with Hideo Kojima's video game and film production studio.

In a statement on X, PlayStation says: "After careful consideration, we have made the difficult decision to step away from collaborating with Kojima Productions on its project, Physint. We continue to have great admiration for Hideo Kojima's vision for the game."

From that statement alone, it's not exactly clear why the split has occurred. However, Hideo Kojima took to X to weigh in on the matter himself, stating: "We unexpectedly received notice from PlayStation Studios that they would cancel the Physint project," which is PlayStation in form, at least based on its cancellations of multiple projects from its first-party studios.

"Physint is an important project both to me personally and to Kojima Productions. Determined to keep the project alive, we have spent the last three months searching tirelessly for a new partner. We found Xbox, a partner with whom we share a common vision for the future, and we have decided to team up with them once again."

Unsurprisingly, Xbox is more than happy to partner with the critically acclaimed developer, as its CEO, Asha Sharma, says: "We're honored that Kojima-san has chosen Xbox to work with Kojima Productions on Physint. His ambition to challenge conventions reflects the kind of creativity we want to support at Xbox."

Sony's Physint cancellation attempt hints at bigger concerns

Fortunately, Physint is in fine condition, with development still underway, as Kojima confirmed, calling it Kojima Productions' "genre-defining action-espionage title", which many have lauded as the next Metal Gear-style franchise since Kojima left Konami in 2015.

However, the bigger question remains: is the split between the companies solely due to the PlayStation's Physint cancellation attempt? Considering Kojima's stance against a digital-only future, which Sony has greenlit for games, it's hard to imagine that this didn't play a role in the partnership's collapse.

Kojima highlighted his sadness about Sony's decision to end the production of physical PlayStation game discs, considering the loss of ownership, which he described as a company suddenly stating, "You can turn on the tap for a certain amount of money each month."

That points towards fears of subscription services and how media will only be accessible by using them, and easy access to favorite movies and games will cease to exist.

It's not hard to imagine Kojima getting cold feet about launching Physint on PlayStation as an exclusive, without any physical game discs, as it directly highlights his fears of an all-digital future. It may not have been the direct factor behind the separation, but the timing (a few months after Sony's disc-axing announcement) certainly doesn't appear to be coincidental either.

Whether the blowback from this new decision will push Sony to reverse course is to be seen, but if Kojima's pushback on an all-digital future has anything to do with the disbanding, it wouldn't be a huge surprise to see other developers eventually do the same.

• Sony has seemingly been caught testing dynamic pricing again
• PS5 users are seeing different discounts for Star Wars games based on unknown account factors
• Some regions seem unaffected by the experiment

Dynamic pricing is back in the gaming news, as PS5 players are yet again seeing the wild disparity between discount amounts for the same game — and its all-digital future feels ever more like a nightmare.

When looking at buying Star Wars Jedi: Fallen Order while logged into their PlayStation account Reddit user Bluemonkey88 was told it would cost them CA$19.24, or a roughly 65% discount from its RRP. Meanwhile the sequel Jedi: Survivor would set them back CA$23.39 (a 74% saving). As soon as they logged out Fallen Order dropped to CA$10.99, an 80% drop from full price, and Survivor fell to CA$13.49, or an 85% discount.

In the replies, we can see folks being offered the games for CA$13.99 and CA$18.19, though further muddying the waters a couple of US users — one with PS Plus and another without — both see the games at $7.99 and $10.49, suggesting not every region or user is subject to the same price testing.

What is dynamic pricing?

If you haven’t heard before, dynamic pricing is where a product’s cost fluctuates based on who is buying the product, or when they’re buying it.

It goes by other names you might have seen like surge pricing on Uber — when everyone is trying to book a cab, say just as a concert ends or if the weather turns bad, you’ll see costs rise because demand is up.

In Sony’s case here the pricing seems more algorithmic. There’s an unending supply of digital games, so instead the discount amount folks are seeing looks to be based on how likely it is you’ll buy the product, and adjusting the sale until it just tips you over the edge.

For example someone who maybe plays a couple of games a year or isn’t a mega Star Wars or action adventure game fan might see a steep discount as they’ll need more convincing. Whereas a mega fan of Star Wars, or a gamer who digests a new title every other week might be willing to pay more.

It’s like how airlines and hotels are accused of upping costs for folks who have filled their search history with holiday plans to a dream destination — if they’re desperate to go to, say, Paris, then they’ll be willing to maybe pay that little bit extra compared with a more agnostic traveller.

No thank you

This isn’t the first time Sony has been caught testing dynamic pricing. In fact, some kind of experiment has been going on from as far back as November last year.

And it’s as scummy a practice then as it is now, and it will continue to be as awfully anti-consumer as some of Sony’s other recent moves (i.e. killing physical games media).

Though if you’re thinking of jumping ship to Xbox it too has been caught with its hand in the dynamic pricing cookie jar. In its case it appears Microsoft is offering deeper Game Pass discounts to some accounts than others, with current subscribers unable to see the deal at all.

A digital-only gaming future already has so many downsides when it comes to ownership, game archiving, offline access and more, that we simply don’t need to add dynamic pricing to the mix.

Maybe Sony will reverse course, though its efforts for the past year suggest that dynamic pricing is here to stay. The best thing we can do is point it out every time it’s spotted, and making sure we don’t get suckered in with higher prices.

• RPCS3 has been updated to play PS3 discs on almost any PC
• Windows was supported previously, but macOS, Linux and FreeBSD are now too
• You'll just need a compatible disc drive and some confidence

Just as Sony begins the somber funeral procession for physical games media, some modders aren’t taking it lying down. This includes the team behind the RPCS3 PlayStation 3 emulator, who just made it possible to play PS3 discs on a much wider range of computing hardware — provided you hit a few technical requirements.

This feature was previously available to Windows RPCS3 gamers, but thanks to the work of developers digant73 and Megamouse, the emulator can now support physical games media on macOS, Linux, and FreeBSD.

What’s more, this change unlocks the option to play discs on modded consoles, with replies to the announcement discussing the options to boot up PS3 discs on Linux-powered PS4 and PS5 hardware.

The change was announced on social media with the team celebrating that games launched as far back as 2006 should now be playable with the hardware in your home. Though the 'plug and play' promise isn’t quite as simple in reality.

A few steps

Of course you’ll need a decent PC for this to work, though you could get away with a pretty ancient model if you need to. The minimum settings require an Nvidia GTX 400 series or newer GPU (released all the way back in 2010), so any modern desktop or laptop released in the last 15 years should be fine.

You’ll also need a disc drive. For advice I’d suggest checking out the RPCS3 Quickstart guide for the models the team recommend and know work.

Lastly there’s some software stuff you’ll need to organize like getting the emulator installed, downloading PS3 system software to your PC, and a decryption key to be able to read the disc on the fly rather than needing to dump it onto your PC first. For that last one, you’ll need to use a community-made database.

The process is fairly simple with the RPCS3 guide. If you do hit any snags, there are forums and Reddit threads full of people who have likely had your issue before and found a solution already.

At a time when companies like Sony are doubling down on anti-physical gaming measures, while clarifying that digital games aren’t owned — merely licensed — efforts like this are a reminder that access to games still matters, and can be maintained if you’re dedicated enough.

This will make it much easier for people to play the classic PS3 collection they still hold dear, and make it easier for this era of gaming history to be catalogued, preserved and played for years to come.

• Sony unveils the FE 8-14mm F3.5 G lens
• It's the company's first fisheye lens, covering a 180-degree field of view
• It costs $1,600 / £1,500 / AU$2,299

Sony has unveiled its first-ever fisheye lens, the FE 8-14mm F3.5 G, which becomes the widest-angle lens in the company's burgeoning lens range — and I've had my hands on it ahead of the announcement.

I'll admit, it caught me off guard to realize that Sony didn't have a fisheye lens for its mirrorless cameras until now — after all, there are a huge number of Sony lenses already available — but the 8-14mm will no doubt appeal to fans of the distorted, ultra-wide perspective.

Popular for astrophotography, urban landscapes, sports such as skateboarding, and hiphop music videos, fisheye lenses are the widest-angle lenses available, and now there's finally one available with the Sony name on it.

The compact optic is designed for full-frame cameras, and has a maximum f/3.5 aperture across its 8-14mm zoom range. It certainly feels the part; it's dust and moisture resistant, includes a zoom lock, clicked / de-clicked aperture ring, focus switch, and a rear filter holder (which is handy, as the lens doesn't accepted threaded filters because of the bulbous front lens element).

Zoom and focusing are internal, which usefully means that the lens barrel doesn't extend when zooming, while close focusing is just 0.15m, with a 0.22x maximum magnification — you'll often want to make the most of the minimum focus distance to emphasize subjects in the frame.

At its widest 8mm focal length the lens covers a full 180-degree field of view, meaning that much of the built-in lens hood is in the frame — these files need processing to remove the pronounced vignetting. Zoom in to 14mm, however, and the hood is out of the shot completely.

I've never really got on with fisheye lenses — the ultra-wide and distorted perspective isn't one I particularly like or feel that I can utilize — whereas I prefer ultra-wide rectilinear lenses (which correct that distortion for straight lines).

However, I'm challenging myself and giving Sony's first fisheye lens a proper go. It's early days in my testing of the the FE 8-14mm F3.5 G lens, and I look forward to sharing my review soon.

The lens is part of Sony's 'G' range of enthusiast-level lenses, and is priced at $1,600 / £1,500 / AU$2,299.

• CD Projekt Red's joint CEO Michal Nowakowski has confidence in game consoles coping with the RAM crisis
• Nowakowski is convinced consoles will 'weather the storm', as analysts expect shortages to continue through 2027
• Sony isn't just facing the RAM crisis, but also a major backlash over its decision to end physical game discs

The RAM crisis is continuing to cause havoc with the hardware market, affecting component prices, PC makers, and potentially delaying next-gen console launches. However, it's not so bleak as you might think, at least in the eyes of CD Projekt Red's boss.

As reported by IGN, CD Projekt Red's (CDPR) joint CEO Michal Nowakowski was interviewed by The Game Business and voiced his confidence that next-gen consoles will survive the RAM crisis despite the prospect of high pricing.

This comes amid concerns and projections from industry insiders and analysts that RAM shortages are going to get worse in 2027 and beyond. The big three memory chip makers — Samsung, SK Hynix, and Micron — are expected to increase combined capital spending to nearly 340% from 2024 to 2027.

It doesn't look like RAM shortages and high hardware prices will die down anytime soon, but this doesn't faze Nowakowski, at least when it comes to ensuring CDPR delivers the best possible content.

"Consoles are still necessary to broaden the audience on the casual or semi-casual level. It's important to have easy to plug in and enjoy gaming," Nowakowski says.

"I'm a big believer that they're [consoles] going to weather the storm. Pricing is the objective challenge. And the rumors... we hear them about the next-gen being delayed. I don't know if they're true."

RAM isn't the only worry for Sony

Besides the RAM crisis pushing up prices and causing potential console launch delays, Sony in particular may have an uphill battle ahead. Its recent decision to end production of physical game discs for PlayStation consoles, starting in January 2028, already has gamers in the ecosystem protesting and planning alternatives to escape the impending doom of discs.

An all-digital future means any form of game ownership will cease to exist, as digital content can theoretically be taken away from gamers at any time, and that has led to a loud (and justified, I think) reaction from the console community.

The Game Business didn't question Nowakowski directly about physical game ownership, but did probe further on the effect that delayed next-gen consoles might have, with Nowakowski making CDPR's stance very clear.

"If the next-gen gets delayed, it could be the case that some ideas [for games] are put on a shelf for the future. We'd have to adjust. We're not worried on the commercial side. Consoles are here to stay."

It's fair to say that Nowakowski's last statement is a realistic assessment. Even given Sony's dismissal of physical game discs, this isn't going to lead to a complete collapse in the popularity of consoles.

However, Sony may not make life easy for itself and publishers such as CDPR, as from 2028, when the discs are dumped with the PlayStation ecosystem, a hit to games sales is far from impossible — especially if the ongoing backlash from gamers is anything to go by.

• Sony reveals 3 new party speakers: ULT Tower 5, ULT Tower 7, and ULT Tower Max
• ULT Tower 5, $449.99 / £349 / AU$549; ULT Tower 7, $649.99/ £499 / AU$799; ULT Max $1,499.99 / £1,299 / AU$1,999
• New circular woofers, multiple sound modes, 360-degree party sound

Sony has revealed three new party speakers and — hurrah! — I’ve had the chance to hear them for myself. The Sony ULT Tower 5, ULT Tower 7, and ULT Tower Max look to offer almighty audio output for parties, DJ sets, or even karaoke sessions, with various ways to play and connect.

These bass-conscious new speakers are built around newly developed large, circular woofers (a departure from Sony's almost rectangular X-Balanced woofer unit, typically seen across the ULT range), and according to Sony, the Max model specifically delivers the most powerful bass in the ULT Power series to date. Their bold designs — which also deviate a fair bit from previous ULT speakers — as well as their massive power outputs and broad connectivity options could make them a major rival for the likes of JBL’s PartyBox models, if the sound is right.

Just how good do Sony’s new ULT speakers sound? I attended an impressive demo and I’ll reveal what I thought shortly. First, let’s run through everything I learned about Sony’s Towers, from technical specifications to nifty new features.

Taking a closer look

Let’s look closer at each of the three new ULT Tower speakers, and go through the key technical details.

The ULT Tower 5 is the smallest in the new line-up, but it still packs quite the punch. It contains a 230mm woofer and two tweeters with a 300W maximum power output. Meanwhile, the ULT Tower 7 boasts a larger 280mm woofer, alongside two mid-range units, and four tweeters — two front-facing, and two rear-facing. The rear tweeters are also angled for a wider soundstage. The ULT Tower 7 has a 420W maximum power output.

Finally, the ULT Tower Max is a true beast of a speaker. It has three woofers, two front-facing, one rear-facing. But it also comes with two-midrange units, and four tweeters, two of which are rear-facing. Its high-power amplifier delivers 2,150W of output, making it one of the most powerful party speakers I’ve ever encountered.

I want to focus in on the woofers for a moment, because Sony were really keen to stress the changes made for the new ULT Tower models. Unlike some previous models, the new Towers have circular driver units for the woofers, rather than the ‘X-Balanced’ alternative.

Sony Product Manager Mike Somerset told me: “X-Balanced is fantastic for a smaller, compact system and maximizing the surface area inside — let’s say, for a rectangular speaker unit, you know. And it also delivers a really great, impressive ‘attack’ bass. But with these, we really wanted to emphasize deep bass — and to be able to do that we’ve moved to this circular driver unit”.

The speakers also have large capacity cabinets and ULT Duct tech, which is intended to help each model produce “deeper, more powerful bass with greater authority”.

Do it your way

As well as talking up the outrageous power of the ULT Towers, Sony was keen to share the impressive customizability of the speakers. That’s because there are a number of sound modes, all of which are designed for specific situations and genres.

There are two ULT modes. The first, Sony says, is intended to enhance deep bass for “a rich, low frequency sound that makes your heart tremble,” with the second made to ramp things up even further for “even greater power, delivering body-shaking bass and strong sound pressure”.

What’s perhaps more interesting, though, are the ‘Flat’ and ‘Live’ options. As you’d expect, Flat is designed to make a track sound as it was intended to at the mixing desk, with a more neutral, balanced approach. Live, however, is focused on delivering a more spacious sound, with a strong emphasis on vocal clarity.

The speakers were tuned with the help of a number of "Hip-Hop sound creators," including producer, songwriter, and DJ, Dready, who spoke with me about the EQ adjustment process. On the Flat tuning, he said, “That’s how I would have it on a DJ set, because obviously on the controller you have the lows, mids, and highs, and we just gave it a nice blend… so, you know, when people take it, they can express themselves how they want”.

Of course, if you want to personalize things even further, you can connect to the speaker with the Sony Sound Connect app and make use of the multi-band custom equalizer instead.

So…how good do they sound?

Do the ULT Tower speakers sound any good? Allow me to go through them one by one.

The ULT Tower 5 arguably impressed me the most, relative to its size and cost. Sure, it leaves out the 360-degree Party Sound feature that the larger models adopt (presumably due to its lack of rear-facing drivers), but its raw power and regimented sound were hard to ignore. When listening to Luther by Kendrick Lamar and SZA, the speaker showed its considerable versatility. The vocal sample in the intro sounded textured and resonant, but then the drive and power of deep bass hit with surprising impact. Bass, though the clear star of the show, sounded controlled yet powerful, and never shrouded vocals in the mids or drums up high.

We cycled between the various sound modes, and the switch between an ‘attack’ bass and deep bass mode was pretty striking. It was incredibly seamless to sift through the different modes using the ULT logo — which also happens to be a button. It’s too early to say if it’s a sure-fire hit, but for £349 (around $470 / AU$660, but these are guesstimates based on the UK pricing right now, since Sony hasn't disclosed official pricing for these regions at the time of writing), the ULT Tower 5 sounded far more impressive than some rivals I’ve tested in its price and size class.

Things got even louder when we switched to the ULT Tower 7. We tried listening to Don’t Start Now by Dua Lipa, and low-frequency sounds were full-bodied, agile, and striking. Treble sounded pretty forward to me, with higher-pitched percussion seeming highly prominent, while vocals sounded clear and well-weighted in the mix.

We also tried out Money by Pink Floyd, which is a great testing track for any speaker. The 360-degree sound seemed pretty effective here, and when pairing two ULT Tower 7s together in stereo mode, the spaciousness of the track was brilliantly recreated. Vocals and guitars sounded tonally accurate and well-separated, but that low-end still came through with immense drive.

Finally, we hopped over to try out the behemoth that is the Sony ULT Tower Max. I’m no stranger to a rave, and the Max made me feel like I was listening to a set at my local venue. I was able to pick a track of my choosing, so I threw on Breather by Chris Stassy. And this perfectly showed off the huge sound of the ULT Tower Max.

The pumping, deep bass was genuinely earth-shaking, and I could almost feel it vibrating through my soul. But spacey sounds in the mid-range still came through cleanly, and were provided plenty of room to express themselves. If you want truly mesmerizing power at a relatively moderate cost (all things considered), then the ULT Tower Max could be one to keep an eye on.

We also tried pairing ten of the ULT models together, and… as you can probably imagine, the results were palpable. Auracast technology allows multiple models to chain together, and even the LED lighting syncs up across each speaker, making for an especially immersive listening experience.

Final thoughts: enticing new designs and competitive pricing

The new ULT Towers feel like Sony’s attempt to genuinely take on JBL in the party speaker arena, with the latter being particularly dominant in this field. The party speaker segment has increased in popularity as of late, and we’ve even seen new entrants like Marshall releasing its Bromley 450 and Bromley 750 speakers.

But could the ULT Towers rival the likes of JBL’s Partybox models? Well, at a glance, I think they could. They offer incredible power, more than a lot of mainstream competitors, they have a new design with attractive lighting, refined sound with rounded woofers, and plenty of ways to make them sound right for you. And that’s not to mention the wide connectivity options, including Bluetooth, RCA, XLR, and USB-C.

For the power and features on offer, they’re also priced relatively modestly, with the Tower 5 coming in at $449.99 / £349 AU$549, the Tower 7 at $649.99 / £499 / AU$799, and the ULT Max at $1,499.99 / £1,299 / AU$1,999.

I was also impressed to see the battery life of the speakers, with 30 hours on the ULT Tower 7 and 20 hours on the Tower 5 — that’s quite a lot of playtime given the power demands. And although features such as 360-degree audio and sound modes are exciting, Sound Field Optimization (which analyzes speaker placement and surround noise levels to offer the best sound possible) are even better. That’s something that could really set this model apart.

We’ll have to test the ULT Tower models out for a bit longer to determine whether they can compete with the best, but so far, it’s fair to say that they’ve impressed me.

The Sony Bravia 7 II serves as the more affordable model in Sony’s RGB LED 2026 lineup, and while it may not deliver the OLED-rivaling performance RGB has been touted to offer, it’s probably one of the best examples I’ve seen of the new RGB tech in action. It won’t beat the very best TVs I’ve tested this year, but it’s certainly a great TV.

The Bravia 7 II’s picture quality is great overall. It demonstrates excellent backlight control that delivers OLED-level blacks when viewed straight on, with minimal signs of blooming. It also delivers spectacular colors that rival the best OLED TVs, as well as refined, realistic detail and textures that bring pictures to life. It also delivers excellent motion handling for fast-paced action on screen. While not perfect, due to its reflective screen and signs of backlight blooming and faded contrast when viewed off-center, the Bravia 7 II’s picture is still very good.

Sony’s TVs are often among the strongest for built-in sound, but while the Bravia 7 II shows promise, its built-in sound wasn’t quite as good as I hoped. Getting the settings right is key (check out the sound quality section for more info), and once set up, it does deliver a clear, detailed, and accurate sound profile with decent bass. Yet, the sound felt too contained for my liking. I’d recommend one of the best soundbars here if you’re a regular movie viewer.

Gaming is well supported on the Bravia 7 II, with 4K 120Hz, VRR, ALLM and Dolby Vision all featured. The Bravia 7 II even produced a 10.4ms input lag time; one of the stronger times I’ve seen from a Sony TV. This translates well into real-life gaming, as I found performance smooth and responsive. While it has just two HDMI 2.1 ports and its picture can get muddy during fast-paced sequences, the Bravia 7 II still gives the best gaming TVs a run for their money.

Using Google TV as its smart TV platform, the Bravia 7 II has a good number of picture and audio settings, with fairly easy-to-navigate menus. Performance is strong overall, with only the occasional stutter, and while the large banner ads on the home menu can be distracting, Google TV is a decent smart TV platform.

The Bravia 7 II is solid value for money. While it is a premium-priced ‘mid-range’ TV, it delivers very good performance with a strong feature list and even goes toe-to-toe with rival OLEDs like the LG C6. The 65-inch launched at $2,599 / £2,299 / AU$3,299, with prices already dropping to $1,799 / £1,899 / AU$3,295. The Bravia 7 II may still be pricey, but it’s mostly in line with other RGB TVs and OLEDs for what it offers.

Sony Bravia 7 II review: Prices & release dates

• Release date: July 2026
• 50-inch price: N/A / £1,899 / AU$2,295
• 55-inch price: $2,099 / £1,999 / AU$2,499
• 65-inch price: $2,599 / £2,299 / AU$3,299
• 75-inch price: $3,099 / £2,999 / AU$4,499
• 85-inch price: $3,999 / £3,999 / AU$5,999

The Bravia 7 II is the more affordable model in Sony’s True RGB TV lineup, sitting below the flagship Sony Bravia 9 II. The 65-inch model I tested for my review launched at $2,599 / £2,299 / AU$3,299, putting it at a similar launch price to the LG C6 OLED.

Since its release, the Bravia 7 II has been on sale several times, with the same 65-inch model I tested dropping to $1,799 in the US and £1,999 in the UK. Prices remain unchanged in Australia at the time of writing.

Sony Bravia 7 II review: Specs

Sony Bravia 7 II review: Benchmark results

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1 / 4

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Brightness Measurements

Taken using a colorimeter and test pattern generator. Click the test name for measurements and select the chosen test from the dropdown menu.

HDR FilmmakerHDR StandardSDR FilmmakerSDR Standard

Sony Bravia 7 II

HDR Filmmaker Mode (10% window)

1114

HDR Filmmaker Mode (Fullscreen)

829

LG C6

HDR Filmmaker Mode (10% window)

1427

HDR Filmmaker Mode (Fullscreen)

247

Samsung R95H

HDR Filmmaker Mode (10% window)

1977

HDR Filmmaker Mode (Fullscreen)

612

05001,0001,5002,000

nits

HDR Filmmaker Data

Product	HDR Filmmaker Mode (10% window) (nits)	HDR Filmmaker Mode (Fullscreen) (nits)
Sony Bravia 7 II	1114	829
LG C6	1427	247
Samsung R95H	1977	612

Sony Bravia 7 II

HDR Standard Mode (10% window)

1295

HDR Standard Mode (Fullscreen)

788

LG C6

HDR Standard Mode (10% window)

1364

HDR Standard Mode (Fullscreen)

243

Samsung R95H

HDR Standard Mode (10% window)

2066

HDR Standard Mode (Fullscreen)

647

07501,5002,2503,000

nits

HDR Standard Data

Product	HDR Standard Mode (10% window) (nits)	HDR Standard Mode (Fullscreen) (nits)
Sony Bravia 7 II	1295	788
LG C6	1364	243
Samsung R95H	2066	647

Sony Bravia 7 II

SDR Filmmaker Mode (10% window)

90

SDR Filmmaker Mode (Fullscreen)

94

LG C6

SDR Filmmaker Mode (10% window)

333

SDR Filmmaker Mode (Fullscreen)

237

Samsung R95H

SDR Filmmaker Mode (10% window)

115

SDR Filmmaker Mode (Fullscreen)

185

0100200300400

nits

SDR Filmmaker Data

Product	SDR Filmmaker Mode (10% window) (nits)	SDR Filmmaker Mode (Fullscreen) (nits)
Sony Bravia 7 II	90	94
LG C6	333	237
Samsung R95H	115	185

Sony Bravia 7 II

SDR Standard Mode (10% window)

608

SDR Standard Mode (Fullscreen)

476

LG C6

SDR Standard Mode (10% window)

391

SDR Standard Mode (Fullscreen)

234

Samsung R95H

SDR Standard Mode (10% window)

413

SDR Standard Mode (Fullscreen)

187

0200400600800

nits

SDR Standard Data

Product	SDR Standard Mode (10% window) (nits)	SDR Standard Mode (Fullscreen) (nits)
Sony Bravia 7 II	608	476
LG C6	391	234
Samsung R95H	413	187

HDR color gamut

Closer to 100% is better. Taken using a colorimeter and test pattern generator.

Sony Bravia 7 II

UHDA-P3

98.6

BT.2020

89.6

LG C6

UHDA-P3

99.7

BT.2020

75.9

Samsung R95H

UHDA-P3

148

BT.2020

94.1

037.575112.5150

HDR Filmmaker Data

Product	UHDA-P3 ()	BT.2020 ()
Sony Bravia 7 II	98.6	89.6
LG C6	99.7	75.9
Samsung R95H	148	94.1

Picture accuracy

A lower score is better. Taken using a colorimeter and test pattern generator.

SDR Delta-E

Sony Bravia 7 II

6.5

LG C6

1.3

Samsung R95H

3.7

01234567

SDR Delta-E Data

Product	Value
Sony Bravia 7 II	6.5
LG C6	1.3
Samsung R95H	3.7

Input lag

Lower is better. Taken using a Leo Bodnar 4K HDMI Video Signal Lag Tester.

Sony Bravia 7 II

4K 60Hz

10.4

1080p 120Hz

5.7

LG C6

4K 60Hz

9.2

1080p 120Hz

4.7

Samsung R95H

4K 60Hz

11.7

1080p 120Hz

9.4

03.757.511.2515

ms

HDR Filmmaker Data

Product	4K 60Hz (ms)	1080p 120Hz (ms)
Sony Bravia 7 II	10.4	5.7
LG C6	9.2	4.7
Samsung R95H	11.7	9.4

Sony Bravia 7 II review: Features

• RGB mini-LED panel
• XR Processor
• Perfect for PS5 features

The Bravia 7 II is one of Sony’s True RGB TVs and features an RGB mini-LED backlight. This introduces red, green and blue LEDs instead of the normal white you’ll find in a standard LED/mini-LED panel for greater color volume and (generally) higher brightness. Along with the RGB backlight, there are numerous named RGB features, including RGB Backlight Master Drive Pro and RGB Triluminous Max

The Bravia 7 II is equipped with Sony’s own XR Processor, which supports picture features such as XR Clear Image (for better motion clarity), XR Motion Clarity (for smoother motion) and XR Contrast Booster (for enhanced contrast).

Dolby Vision HDR is supported but not HDR10+ (which isn’t unusual for Sony). There's also support for IMAX Enhanced content.

The Bravia 7 II supports an X-Wide Angle Pro feature for better viewing angles, something RGB TVs from most brands say is one of the advantages of the new technology, as standard mini-LED, when viewed from an angle, can often result in backlight blooming.

As for audio, the 65-, 75- and 85-inch models have a 40W speaker system consisting of two full-range speakers and two subwoofers. The 50- and 55-inch models use two full-range speakers and two tweeters. The Bravia 7 II supports AI Voice upscaling and room calibration audio features, and both Dolby Atmos and DTS:X (as well as DTS-HD) audio formats.

For gaming, the Bravia 7 II has two HDMI 2.1 ports that support 4K 120Hz, ALLM and VRR gaming. The other two ports are standard HDMI 2.0. There are also Perfect for PS5 features, including Auto HDR Tone Mapping, Auto Genre Picture Mode (where the TV will automatically switch to game picture mode when a PS5 is detected), and support for the PS Remote Play app, where you can control your PS5, PS5 Pro or PS4 from another location via the TV.

The Bravia 7 II uses Google TV as its smart TV platform and supports the usual streaming apps such as Netflix and Prime Video, as well as Sony’s own Bravia Pictures Core streaming service. In the UK, there is support for BBC iPlayer, ITVX, Channel 4 and Channel 5 streaming apps. In the US, the Bravia 7 II features an ATSC 3.0 tuner.

• Features score: 4.5/5

Sony Bravia 7 II review: Picture quality

• Brilliant color reproduction
• Excellent contrast
• Blooming when viewed off-center

Starting with brightness measurements, the 65-inch Bravia 7 II registered 1,114 nits peak HDR brightness in its Professional picture mode (its equivalent to Filmmaker), 1,295 nits in Standard mode, and 1,163 nits in Cinema mode. This makes it one of the dimmer RGB TVs I’ve tested out of the box, with the Hisense UR8 hitting 2,097 nits and the Samsung R95H hitting 1,977 nits, both in HDR Filmmaker Mode.

As for HDR fullscreen brightness, the Bravia 7 II registered 829 nits in Professional mode, a solid number that beats both the UR8, which hit 771 nits, and the R95H, which hit 612 nits: again, both in Filmmaker Mode.

The Bravia 7 II also registered promising peak SDR brightness in Standard mode, hitting 608 nits, and in Cinema mode, hitting 663 nits, making it a good TV for standard daytime and broadcast TV and other non-HDR sources.

One of the first things I noted about the Bravia 7 II while testing it in our lab is that it has a reflective screen. Any dark scenes viewed in bright lighting showed mirror-like reflections on the screen, especially when there was a lot of black. If you’re watching a darker movie or TV show, it’s definitely worth watching in ambient conditions.

Moving to 4K, HDR content, the Bravia showcases excellent color reproduction: some of the best I’ve seen on an RGB TV so far. Watching The Super Mario Galaxy Movie, colors really pop on-screen with superb vibrancy. As the Lumas all gather in the room for story time, the Lumas themselves are vibrant, showing off the Bravia 7 II’s fantastic color volume. Other bright colors throughout the movie, such as the green of Yoshi’s skin, are bold and rich, too.

In a real-world movie, namely Speed Racer, the Bravia 7 II renders the gaudy interior of the Racer home and their outfits with real accuracy and some impressive clarity. The purple of Royalton Industries is another highlight, where the Bravia 7 II shows excellent highlights and great color luminance.

It’s not surprising the Bravia 7 II delivered brilliant colors as it scored highly in the HDR color gamut coverage tests. It registered 87.7% of the BT.2020 color space and 99.2% of the UHDA-P3 color space: both excellent results that are up there with QD-OLED TVs. While other RGB TVs I’ve tested have broken the scale of the UHDA-P3 coverage, with both the Hisense UR8 and Samsung R95H hitting over 145%, this didn’t stop the Bravia 7 II colors from looking fantastic. In fact, in my Bravia 7 II vs R95H comparison, I often preferred the Bravia 7 II’s color profile. It even gave the C6 a run for its money in my LG C6 vs Bravia 7 II comparison.

The Bravia 7 II’s contrast is strong. In The Batman, the dark walls and floors of the Batcave balance well with the bright tones from the overhead lights and monitors Bruce uses when reviewing video footage. There’s also great shadow detail, where textures such as the back wall of a subway platform Batman stands on are legible while still maintaining rich dark tones.

In Dark City, blacks are deep and inky, and again there’s powerful contrast at work. I did notice some occasional black crush in some scenes. When John is talking to the hotel clerk, the texture of his curly hair isn’t as clear, but black tones are still rich. In my Bravia 7 II vs Samsung R95H comparison, the R95H proved to have better black detail in this scene.

The Bravia 7 II showed superb detail and crisp textures throughout my testing. In footage of a snow-covered deer from the Spears & Munsil UHD Benchmark 4K Blu-ray, the deer has a near-3D-like look, showing some nice depth that really made the image come to life. This is true in other reference scenes I used too, such as how people look in Speed Racer. Skin looks lifelike, and other textures, like the detail of the Mach 5 car, were delivered with gorgeous clarity.

It also demonstrates excellent motion handling, even with motion settings turned off. As cars glided around the track in the opening race of Speed Racer, there were very minimal signs of judder or blur. The Bravia 7 even effectively handled the commentators moving across the screen, something I’ve seen produce serious judder on other TVs.

While I did find that viewing angles of the Bravia 7 II were better than a standard mini-LED, I noted that when viewed from an extreme angle, some backlight blooming was visible, especially in dark scenes. As white text appears against a black background, there's a halo effect around the writing. This is an area where OLED, which RGB aims to rival, is still superior, as OLED has self-dimming pixels for better control. However, the Bravia 7 II did mostly deliver very good backlight control when viewed head-on.

• Picture quality score: 4.5/5

Sony Bravia 7 II review: Sound quality

• Good dynamics and detail
• Effective Acoustic Room Calibration
• Sound can still feel contained to screen

The 65-inch Bravia 7 II has a 40W speaker system, consisting of two full-range speakers and two subwoofers. Rather than the conventional sound modes of other TVs, it focuses on a much more manual approach, with an equalizer and processing settings for users to experiment with.

During the opening race of Speed Racer, the Bravia 7 II delivered accurate sound with clear dynamics. As cars swerved around the track, the sound was accurately mapped to the picture on screen. In one section, as Speed grinds his car on a rail, the subtle grinding noise was audible amongst the chaos of the race. There was some solid, punchy bass capturing the sound of the engines, but I couldn’t help but feel it lacked the ‘oomph’ I’ve come to expect from Sony’s TVs.

Activating Acoustic Room Calibration added some much-needed edge to the sound. The soundstage widened, creating a more immersive sound, and bass was heftier, rendering the roar of the engines more accurately. Voices were clear with and without the calibration, but they were clearer with the calibration active. Atmos effects such as cars flying overhead as they cleared the track’s jumps were also more audible.

Still, the sound could be harsh at times, especially when in the ‘compressed’ dynamic range. I opted for ‘standard’ for a quieter, warmer sound profile. The sound again felt artificial at times, and still felt contained to the rear of the TV. While the overall sound is decent, it won’t beat a good soundbar.

• Sound quality score: 4/5

Sony Bravia 7 II review: Design

• ‘Invisible’ stand
• Hefty build
• Bulkier than rivals

The Bravia 7 II has a central pedestal stand. Made of tough, sturdy metal, the Bravia 7 II feels secure on a tabletop stand, and against the right background (I use a dark-wood stand), the stand can blend in to create a more ‘floating’ look.

The Bravia 7 II itself is on the weightier side, mainly due to its bulkier frame. Compared to many other TVs in today’s market, the Bravia 7 II is much deeper and thicker, probably to handle its built-in speakers. The TV's bezel is trim, allowing plenty of room for the pictures on screen.

There are two remotes included with the Bravia 7 II (one mainly for UK users, as it has numbered buttons), but the main one is the Bravia Voice Remote. The button layout is functional and easy enough to understand, but it feels on the cheap side, being made of light plastic. For a TV at this price, I’d have liked a more premium remote.

• Design score: 4/5

Sony Bravia 7 II review: Smart TV & menus

• Google TV
• Good number of settings
• Ads and performance can frustrate

Like most Sony TVs, the Bravia 7 II uses Google TV as its smart TV platform. Once logged in with your Google account, there will be recommendations from various apps based on your viewing history, which is useful for finding new content. However, the home page is beset with large banner ads that sometimes fill half the screen, which can be very distracting. Google TV supports all major streaming apps, including UK-based platforms such as BBC iPlayer and ITVX.

In terms of settings, the Bravia 7 II has plenty of picture settings and modes for users to get stuck into. There are tons of ways to customize picture settings, with AI-based tools and more traditional brightness, color, contrast and motion settings. The aforementioned sound settings (in the Sound Quality section) also allow for some freedom, but can be daunting for those looking for easy set-up.

I did find that while navigating through some apps and menus, the Bravia 7 II’s performance could stutter at times. This was also true when using the UB-820 4K Blu-ray player, with some stutters here and there. Performance for the most part was solid; just not as slick as on LG’s TVs, say.

• Smart TV & menus score: 4/5

Sony Bravia 7 II review: Gaming

• 10.4ms input lag time
• 4K 120Hz and VRR supported
• Only two HDMI 2.1 ports

The Bravia 7 II supports 4K 120Hz, VRR, Dolby Vision gaming and ALLM, featured on two HDMI 2.1 ports. Using a Leo Bodnar 4K HDMI Input Lag Tester, I measured the Bravia 7 II’s input lag at 10.4ms at 4K 60Hz, which is a big improvement over other Sony TVs we’ve tested at TechRadar, such as the Bravia 8 II OLED, which clocked in at 16.3ms (4K 60Hz). The Bravia 7 II also registered 5.7ms at 1080p 120Hz: a solid time compared to other TVs I’ve tested this year.

These strong input lag times translate to actual gaming. Playing Battlefield V on Xbox Series X, the Bravia 7 II demonstrated responsive performance, which felt smooth even during chaotic battle sequences with a lot of free-flowing movement. Locking onto targets felt snappy with almost no signs of judder.

The Bravia 7 II’s picture quality while gaming was strong for the most part, showing excellent detail with 3D-like textures, as well as bold brightness, rich contrast and punchy colors. I did notice that during faster-paced moments, a dirt screen effect could occur, where textures became a bit muddied, but this didn’t happen all the time.

• Gaming score: 4.5/5

Sony Bravia 7 II review: Value

• Solid value
• Very good performance and features
• Similar price bracket to LG OLED C6

The Bravia 7 II is a mid-range model, and while its 65-inch model, which currently costs $1,799 / £1,899 / AU$3,295, is a premium price tag for this price bracket, it performs well for the money, giving both the LG C6 and Samsung R95H (Samsung’s flagship RGB TV) a run for their money when I tested them side-by-side: and it’s cheaper than both.

The Bravia 7 II’s closest OLED competitor is the LG C6, which costs $1,799 / £2,099 / AU$3,295 for a 65-inch, meaning it’s the same price in both the US and Australia. While the Bravia 7 II doesn’t quite top the C6 in terms of value for money, as it's missing some features, like four HDMI 2.1 ports, which the C6 has, the Bravia 7 II is good overall value for money in the new RGB world.

• Value score: 4/5

Should I buy the Sony Bravia 7 II?

Buy it if...

Don't buy it if...

Also Consider

How I tested the Sony Bravia 7 II

• Tested over several weeks in our testing lab
• Tested in both light and dark conditions
• Measurements taken using Portrait Displays' Calman Color Calibration software

Before conducting my full testing of the Sony Bravia 7 II, I first did some casual viewing to establish its best picture modes, opting for Professional mode in darker conditions and Cinema mode for brighter conditions and brighter movies.

I next moved on to critical viewing, using reference scenes from 4K Blu-ray to test color, contrast, detail, motion, upscaling and backlight performance. I also used SDR sources such as DVD, broadcast TV, and lower-resolution streaming.

I also used reference scenes from movies such as Speed Racer and The Batman to test the Bravia 7 II's built-in speakers.

Once these subjective tests were complete, I took testing measurements using Portrait Displays Calman Color Calibration software and specialized equipment, including a Murideo Six G 8K Metal test pattern generator and a Klein 10-A colorimeter, which was profiled with a Jeti Spectral 15VA spectroradiometer.

The first measurements I took were of the Bravia 7 II's brightness. Using 1-100% white window patterns, in both HDR and SDR, I focused primarily on the 10% (for peak brightness) and 100% (for full-screen brightness) window patterns, which are featured in the graphs above.

Next, I measured its HDR color gamut coverage, using both the UHDA-P3 and BT.2020 color spaces.

I also measured its grayscale and color accuracy in SDR using Delta-E values (the margin of error between the test pattern signal and what the screen shows) to determine its accuracy, hoping for a score below 3.

Finally, I measured its input lag using a Leo Bodnar 4K HDMI Input Lag Tester, measuring both 4K 60Hz and 1080p 120Hz in milliseconds.

Read our in-depth overview of how we test TVs at TechRadar.

• First reviewed: August 2026
• Read TechRadar's reviews guarantee

• Sony unveils cheaper Bravia 6 OLED TV, available in sizes from 48 inches to 83 inches
• It has four HDMI 2.1 ports, Dolby Vision and Dolby Atmos
• Prices start from $1,300 / AU$2,599 (about £957), putting it against Samsung and LG's mid-range model, but its unclear if performance will match

Sony has launched a new mid-range OLED TV, the Bravia 6. As the numbering suggests, it sits below the Bravia 8 and Bravia 8 II OLED TVs and the Bravia 7 II and Bravia 9 II RGB LED TVs in Sony's 2026 TV range.

The Bravia 6 comes in five sizes, ranging from 48 to 83 inches, and includes the MediaTek Pentonic 800 chip, which means it has four HDMI 2.1 ports that support 4K 120Hz and variable refresh rate — unlike Sony's higher-end TVs, which only have two HDMI 2.1 ports each due to a quirk of chip choices. The Bravia 6 also supports Dolby Vision, Dolby Atmos, DTS:X, auto low latency mode and HDMI eARC.

The strapline for Sony's marketing is "OLED essentials, now within reach", and with prices ranging from $1,300 to $4,000 in the US / AU$2,599 to AU$6,999 in Australia (UK pricing is coming soon) the Bravia 6 is priced to fight it out with the LG C6 and the Samsung S90H. So how do they compare?

Sony Bravia 6 vs LG C6 vs Samsung S90H: key features

As you'd expect from a new Sony, the Bravia 6 runs Google TV. LG has its webOS system, and the Samsung runs Tizen. There's essentially universal disagreement in the TV community over which of these is better, but they all support every major streaming service.

The Bravia 6 will come in five sizes: 48, 55, 65, 77 and 83 inches. The LG C6 and Samsung S90H are both available in six: 42, 48, 55, 65, 77 and 83 inches.

Samsung's model has HDR 10+ while the Sony and LG have HDR 10 and Dolby Vision; all three have Dolby Atmos audio but the Sony also has DTS:X.

For gamers, the Sony has variable refresh rate based on the standard HDMI 2.1 spec; the LG has HDMI-spec VRR, plus, Nvidia G-Sync and AMD FreeSync Premium; and the Samsung has HDMI-spec VRR, G-Sync and FreeSync Premium Pro.

All three TVs support at least 120Hz 4K, but this is where it gets interesting. The Sony only supports 120Hz at 4K, while the LG and Samsung both support 4K 165Hz maximum.

This suggests that the Sony is using a different panel to the other models, despite being the same kind of price. We don't have official confirmation yet, but multiple outlets are have reported that the Bravia 6 uses the new, more affordable OLED SE panel, which is also used in the LG B6.

But what's odd is that the OLED SE panel is capable of hitting 144Hz, so the Sony being limited to 120Hz doesn't actually confirm anything about its panel either way.

If it is using the OLED SE panel, the LG C6 and Samsung S90H have a clear advantage in terms of the brightness and color reproduction of the panel itself. We loved the performance of the LG C6, and our first impressions of the Samsung S90H were that its display came very close to the C6, though our full review is coming soon.

TV enthusiasts will be very interested in Sony's processing, however, rather than just the panel. Sony's built a reputation for offering extremely good motion handling and upscaling, and producing fantastic levels of accuracy in its pictures. However, this often comes with a dimmer-looking picture than the competition even when using the same panel, and Sony might be using a dimmer panel to start with here…

At $1,300 / AU$2,599, the 48-inch Sony Bravia 6 is priced to compete with the LG C6, which has fallen to a regular price of $1,299 / AU$2,399, while the Samsung S90H is available for $1,199 / AU$1,799 at the time of writing.

The 48-inch version of the LG B6 is available for just $799 / AU$1,999 at the time of writing, and if the Sony TV does use the same panel, that's quite a start difference.

The mid-range OLED market is going to be a tough one for Sony to crack — the company is pretty cautious about discounting, but LG and Samsung are very aggressive with it. If the Bravia 6 has the performance to match the price, then it could be the cinephile's choice — but it could all depend on that panel.

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The wait for perhaps the most anticipated game of all time, Grand Theft Auto 6, has spanned just over a decade. Its 2023 reveal convinced fans it would arrive sooner than expected — but multiple delays sapped plenty of the excitement.

After years of anticipation, GTA 6 is finally almost here, set to launch on November 19, 2026, on PS5, Xbox Series X, and Xbox Series S, with no delays in sight. Hype is rising again, and it's an exciting time for the gaming industry.

Unfortunately, the build-up to launch has recently been marred not only by Sony pioneering the end of physical game discs, but also by Rockstar's anti-consumer shenanigans during GTA 6's dull marketing campaign — starting with the announcement of no physical copy.

In case you missed it, an extended look at GTA 6 will be available on August 27, 2026, on Netflix as a 6-hour exclusive, before Rockstar releases it on YouTube (and presumably other platforms). In other words, if you want to see what Rockstar has to offer firsthand and at the earliest available opportunity, you'll need to pay for a Netflix subscription.

Now, I'm not a spokesperson for gamers, but I'm sure I'm not the only one who quite literally sees this as a way for Rockstar and Take-Two Interactive (its parent company) to kickstart paid trailers — and the reactions online are a very worrying indication of a potential new precedent.

Stop defending anti-consumer practices

Here's the thing: you can still be excited about what is arguably the biggest game of all time, and still criticize a developer or publisher for justified reasons. I think it goes without saying that Rockstar's Netflix exclusivity deal is one of those reasons.

Locking a game trailer or gameplay showcase behind a paywall, even if it is just half an hour, is a massive red flag for any video game company, in my view. This is an unprecedented situation where fans are the ones paying to view marketing material, the same material that would previously be free to consume at the moment it was published.

My main concern comes from the reaction online; many gamers are effectively defending the exclusivity deal, with typical statements such as "you're only complaining because you're broke" or "it's not that big of a deal, it's just 6 hours".

Neither the price nor the amount of time of exclusivity matters, but rather, it's the principle and what foundation Rockstar and Netflix's move could mean for the future. It feels like Rockstar is testing the waters to see how consumers respond, and frankly, is taking advantage of gamers' fear of missing out and the desperation to see something new in GTA 6.

There's absolutely no benefit to the timed exclusive being locked behind a paywall for consumers, and it's actually quite surprising to see many come to Rockstar's defense.

I can't help but feel like if this were any other game studio (i.e., Ubisoft) pulling this exact move, the uproar and backlash would be as loud as ever. I'm well aware that GTA 6 is a significantly bigger game than any in this generation, but that doesn't suddenly mean we should gloss over anti-consumer practices.

This same attitude of "it's not that expensive" or "stop moaning" was widespread when the video game price standard was raised to $70 — and now, edging closer to $80 thanks to Mario Kart World and GTA 6.

Long before that, services like Sony's PlayStation Plus and Microsoft's Xbox Live quickly became normalized, stripping away free online multiplayer access. Gamers overlooked that, likely due to the benefits of 'free' monthly games, and now there's no going back.

That same concept is being applied here: if Take-Two Interactive, Rockstar, Netflix, and possibly other game publishers notice a massive influx of Netflix subscribers for GTA 6's extended look, there's a decent chance early access to game trailers will gradually become the new normal.

It will indirectly tell publishers that consumers are okay with paying for marketing material, out of pure excitement, which is to be expected for a game as big as GTA 6. Isn't that ugly?

This entire case explains why the gaming industry is in the state that it's in today. Gamers accept, or rather, minimize far too many anti-consumer practices by corporations before it's too late for them to backtrack, and we're seeing it unfold yet again.

I'm not saying gamers shouldn't buy GTA 6, even if you're against Rockstar not providing a game disc and protesting against Sony's decision. GTA 6 is the only game that I and many others won't skip out on, as the wait for the experience has been monumental, and that's okay.

However, that doesn't mean you can't still protest against the axing of true physical game copies and call out Netflix's timed exclusivity as a step too far, especially since the full experience of GTA 6 already costs $100 via the controversial ultimate edition.

Gamers need to realize that consumers hold the power overall, as banding together against unpopular practices can lead to change — but sadly, I think many fans will continue to look past Rockstar and Netflix's actions, simply because of their excitement, and that's a shame.

• Nikkei Inc's 2025 report is in, and it shows a growth in global camera shipments
• Canon extends its lead at the top, while Fujifilm leapfrogs Nikon to #3
• Fujifilm shipments have more than doubled since 2023

The global shipment numbers for digital cameras sold in 2025 are in from Nikkei Inc (see boxout) and they make for encouraging reading for the industry as a whole. But the news is particularly good if you're a fan of Canon or Fujifilm.

The biggest growth in shipments since the dawn of the smartphone was led by Canon once more, which tops the table with 4.5 million units (a huge increase of approximately one million more units year-on-year), while Sony maintained second place with 2.42 million shipments, following a much smaller increase.

It's a change in rankings, however, that catches the eye — Fujifilm leapfrogged Nikon to complete the top three; while Nikon's shipments saw a small dip, Fujifilm's grew significantly to surpass one million units, shipping 1.16 million versus 740,000 the year before (and 430,000 units the year before that).

Panasonic also enjoyed a major leap in shipments for 2025 to keep hold of position #5, while Ricoh Imaging stole sixth from OM Digital, thanks to the launch of its flagship premium compact, the GR IV.

You'll notice there's no mention of Leica or Hasselblad. That's because the numbers are for Japanese camera manufacturers only, which do in fact make up the vast majority of global digital camera sales.

I've listed the data for the last three years, below, but what can we can learn from the numbers?

The camera shipments data

The brands are listed below in order of camera shipments (and market share), with the year-on-year change in market share for 2025 in bold. You can find this data compiled at Mirrorless Rumors.

2025 ranking

Canon – 4.5 million units (45.7%, +2.5%)
Sony – 2.42 million units (24.6%, -3.9%)
Fujifilm– 1.16 million units (11.8%, +2.8%)
Nikon – 880,000 units (8.9%, -2.8%)
Panasonic – 430,000 units (4.4%, +1%)
Ricoh Imaging – 210,000 units (2.1%, +1.3%)
OM Digital – 150,000 units (1.5%, -0.4%)

2024 ranking

Canon – 3,53 million units (43.2%)
Sony – 2.33 million units (28.5%)
Nikon – 960,000 units (11.7%)
Fujifilm – 740,000 units (9.0%)
Panasonic – 280,000 units (3.4%)
OM Digital – 160,000 units (1.9%)
Ricoh Imaging – 70,000 units (0.8%)

2023 ranking

Canon – 3.34 million units (46.5%)
Sony – 2 million units (27.9%)
Nikon – 810,000 units (11.3%)
Fujifilm – 430,000 units (6.0%)
Panasonic – 260,000 units (3.6%)
OM Digital – 180,000 units (2.5%)
Ricoh Imaging – 60,000 units (0.8%)

What the data tells us (and what it doesn't)

To start with, it's important to understand that the numbers are for shipments only, and do not indicate revenue. Some brands specialize in pricey high-end gear, others cover a broader spectrum, meaning revenue rankings could be different.

For shipments, however, Canon remains the #1 camera brand, enjoying a huge growth in shipments for 2025. It covers more categories than any rival; DSLR, mirrorless and compacts, and has options for all budgets and experience levels, from the PowerShot V1 to the EOS R100 and EOS 5D Mark IV. Sony, meanwhile, has maintained its position in second place.

When we get to the rest, the numbers can be skewed somewhat year-on-year given the smaller numbers, based on busier or quieter product cycles. For example, Ricoh saw a big bump in shipments in 2025 with the launch of the GR IV, whereas it had no flagship new products the previous two years.

Nikon actually had a decent year, with its TechRadar award-winning Z5 II. Even still, it has plateaued somewhat in recent years, now with a shift in focus to cinema gear following its acquisition of RED which may have acted as a potential shipments handbrake in the immediate.

There's no denying Fujifilm's impressive growth, however. Its numbers go beyond individual models, and point to an overarching demand for retro gear, sparked by the success of its own X100 series, especially the X100VI from 2024. Going from 430,000 units in 2023, to 740,000 in 2024 and 1.16 million in 2025 is remarkable, especially with global component shortages and delays to stock (and those numbers do not take into account Instax).

Will the retro boom, which is also seen in Fujifilm's mirrorless cameras such as the X-E5, continue? 2026 has been a pretty quiet year so far for new products — in fact, no new Fujifilm or Nikon models so far — so I'm not so sure.

As a longtime Nikon fan, I'm a little worried. Its last new camera was the Zr from September 2025, and the Z5 II before that in April. It has seemingly abandoned beginner cameras and its Coolpix brand, too. Sony has arguably had the strongest year so far with the new A7R VI, FX5, and the revival of its popular bridge camera series with the new RX10 V, so I expect it to only extend its lead above Fujifilm.

What do you make of the shipment numbers? Which camera brand do you shoot with? Make sure you vote in our poll and have your say below.

• Logitech facing a class action lawsuit over tariff refunds, with the lawsuit alleging the company raised the price of some products to pass the cost of tariffs onto customers
• The US government collected an estimated $166 billion in IEEA tariffs which are to be returned to businesses, but their are no mechanisms in place to return the cost of tariff-inflated goods back to customers
• Nintendo and Sony are also facing lawsuits over tariff cost refunds

Following President Donald Trump’s return to power in January 2025, he almost immediately levied numerous International Emergency Economic Powers Act (IEEA) tariffs on imports of almost all goods coming into the United States.

According to Trump, the tariffs were imposed to boost domestic production of goods, and increase the purchasing of products manufactured in the US. Somewhat shortsightedly, the US was not able to suddenly change to the mass production of most imported goods and the tariffs were passed on to consumers as part of the price of imported goods.

Many of these and subsequent tariffs were deemed illegal by the Supreme Court of the United States, with around $166 billion in IEEA tariff revenue collected by the government to be refunded to businesses. Unfortunately, many businesses don’t really want to hand that money back to consumers, and Logitech is now being taken to court for it.

Tariffs refunded to businesses but not passed on to consumers

A class action lawsuit has been filed by Cotchett, Pitre & McCarthy, LLP, by the District Court for the Northern District of California, San Jose Division, against Logitech.

The lawsuit alleges Logitech raised the price of many of its products to cover the costs of the import tariffs, but the company has not made it possible for customers to claim back the tariff costs they covered.

As the companies were the ones who paid the tariffs, there is no mechanism in place for consumers to claim back the costs that companies silently imposed on them.

According to the lawsuit, Logitech investors were told by its executives that the price of its products had to be raised to offset the cost of the tariffs.

Around half of the Logitech product catalog saw price rises at around 14%, but the costs of some products were raised by as much as 25%.

Nintendo and Sony also in hot water

While the lawsuit singles out Logitech, numerous other companies have also been accused of raising the costs of goods to cover tariffs and then keeping the refunds for themselves.

For example, Nintendo’s operating profits were reported to be around $902 million between April 1 and June 30. But during the same period the previous year, the operating profit was around $360 million.

While some of this profit increase can be attributed to a boom in games sales and software purchases for the Switch and Switch 2, much of the profit has been alleged to have actually come from tariff refunds.

Nintendo claims to have covered the costs of tariffs itself despite the price of both Switch consoles rising by as much as $50 in 2025.

Nintendo has filed a lawsuit against the US government, demanding that the refunds from the “sweeping” and “constantly changing” tariffs be paid back with interest. Nintendo is also battling a lawsuit in court that demands the tariff refunds are also passed on to consumers.

Sony has been handed an estimated $508 million tariff refund, but raised the prices of key products such as the PlayStation 5 to cover the costs of the importation tariffs. A lawsuit has been filed, but Sony has made no indication that consumers who bought PlayStation consoles at elevated prices will see a dime back.

• Fans have descended on Sony's new 'It Happens on PS5' ad featuring Grand Theft Auto 6
• They're protesting the decision to end physical disc production in January 2028
• The ad campaign also highlights other upcoming games like Marvel's Wolverine and God of War Laufey

PlayStation fans still angry with Sony's plan to end physical game disc production have brigaded yet another video comment section, this time a PS5 ad featuring Grand Theft Auto 6.

Sony has just launched the 'It Happens on PS5' physical ad campaign across the world, which highlights "the biggest moments of play" featuring games such as Marvel’s Wolverine, 007 First Light, and God of War Laufey.

"Today, we’re launching a new It Happens on PS5 hero advert highlighting what’s available on PS5 as well as what’s ahead for players in the coming months," the accompanying PS blog reads.

"The advert invites players to discover what PS5 makes possible, taking viewers on a fast-paced journey through bold and unexpected moments, featuring larger-than-life scenes, from Giannis Antetokounmpo’s elite basketball skills that get the streets bouncing to a high-speed jet ski chase."

GTA 6 is also featured ahead of the game's November 19 launch, and while some fans are feeling the excitement, many are continuing to voice their disappointment with Sony and its decision to kill game discs in January 2028.

After previously swarming the comment section of the most recent Marvel's Wolverine cinematic trailer, as well as several other PlayStation videos, fans have now descended on the 'It Happens on PS5' ad to make their thoughts known.

"Discs used to happen on PS5," the top comment reads, as another user wrote, "It happens that there used to be discs."

If you continue scrolling through the comments, it's difficult to pinpoint any positive mention of the ad, with the majority either urging Sony to backtrack on its decision or criticising the company.

"I used to buy PS products for more than 30 years. It won't happen again," a fan said.

Despite the ongoing pushback, and after remaining silent on the matter for weeks, Sony CFO Lin Tao recently addressed the situation during the company's Q1 2026 earnings announcement, confirming that it is "cautiously" moving forward with its decision (via IGN).

While we know upcoming games like Marvel's Wolverine and God of War Laufey will have physical discs at launch, GTA 6's physical edition won't, and will instead offer a digital code in a box, which has also added to the controversy.

Take-Two Interactive CEO Strauss Zelnick recently explained the reasoning for this decision, saying, "Our business is well over 90% digitally distributed. It's already a digital business."

• Sony CEO Hiroko Totoki says a release date for the PS6 has yet to be decided
• The global component shortage and trade wars have impacted Sony's decision-making
• Totoki says, "We need to take some action. Otherwise, we cannot survive in this landscape"

Sony CEO Hiroko Totoki has confirmed that the PlayStation 6 release date remains undecided due to the ongoing manufacturing component crisis and trade wars.

During an interview with The Wall Street Journal (via VGC), in which Totoki primarily discussed the company's television and movie business, the CEO briefly touched on the PS6 and the challenges of developing the next-generation PlayStation console.

Namely, the global RAM crisis, driven primarily by the rapid demand for AI data centers and seeing prices skyrocket, and the ongoing trade wars.

"Considering that importance, we need to take some action. Otherwise, we cannot survive in this landscape," Totoki said.

Analysts have previously predicted that the PS6 could launch in 2027, which The Wall Street Journal also mentioned in its interview; however, due to the component shortage, Sony hasn't decided the launch date internally.

"Totoki said the company still hasn’t fixed a date for PS6’s launch," The Wall Street Journal states.

Totoki last spoke about the PS6 in May but was hesitant to share anything about the console, saying that the current circumstances regarding the RAM crisis, "memory price is also expected to be very high [in] FY 2027."

"We have not yet decided on at what timing we will launch the new console, or at what prices," Totoki said at the time. "So we would like to really observe and follow the situation.

"Looking at the current circumstances, the memory price is also expected to be very high [in] FY 2027, because there will still be a shortage of supply. So under that assumption, we must think carefully what we will do."

There have also been numerous claims from industry insiders, such as Moore's Law is Dead, who have suggested a 2027 launch date as well, and even claimed that Sony will launch its next-generation PlayStation with three devices in 2027, including two consoles and a companion handheld.

Recent comments from Sony Interactive Entertainment CEO Hideaki Nishino also seem to suggest that the next-generation PlayStation console could be a handheld.

However, Following Sony's announcement that it will end the production of physical game discs in January 2028, analysts have determined that the next-gen PS6 console will launch in 2028.

According to Ampere analyst Piers Harding-Rolls, the all-digital plan telegraphs Sony's upcoming plans, and the "current expectation is that the console will launch at the end of 2028."

The analyst also suggested that "at a minimum," the standard version of the PS6 won't have a physical media disc drive since Sony will be looking for ways to reduce the cost of its next-gen hardware, and "this is an easy win."

RGB TVs have become the talk of the TV world this year, with just about every brand releasing their own RGB model. While the tech is still in its infancy, having been introduced by Hisense in 2025, the tech is being touted as an OLED-killer, delivering much higher brightness and bolder colors akin to a mini-LED, while also delivering the contrast and black tones of an OLED.

So far, I’ve tested the Hisense UR8 RGB mini-LED side-by-side with the Samsung QN80H (a traditional mini-LED), where the UR8’s color didn’t wow me, but its contrast and backlight control did. I’ve also tested the Sony Bravia 7 II RGB mini-LED side-by-side with one of 2026’s best TVs, the LG C6 OLED, and while the C6 came out on top, the Bravia 7 II showed real potential for RGB tech.

But, how do two RGB TVs compare? I’ve swapped out the 55-inch Bravia 7 II for a 65-inch Bravia 7 II and, thanks to some fortunate timing, the flagship Samsung R95H Micro RGB TV has landed in our testing lab at the same time. For context, a 65-inch Bravia 7 II costs roughly $2,599 / £1,999 / AU$3,995, while a 65-inch R95H costs $2,999 / £3,099 / AU$5,295. So, while prices are relatively close in the US (when you’re spending this much money), they are in different price brackets in the UK and Australia.

One note here: as the Samsung R95H has a matte screen, this can cause a red tint in photos that's not visible in-person.

Colors

Watching The Super Mario Galaxy Movie, with both TVs in their Movie modes (Movie for the R95H, Cinema for the Bravia 7 II), I noticed that in their default settings, the R95H appeared to be overblowing its brightness, resulting in some clipping of bright objects. I found that dropping the R95H’s brightness from its default 50 (max) down to 45 or 40 was better for the picture. The color luminance was certainly impressive on the R95H though, with the Lumas’ colors looking extremely bright and vibrant on screen. The Bravia 7 II’s colors had more depth and richness to them, having a lot more boldness that reminded me of an OLED.

Both TVs' color accuracy for the red and green of Mario and Luigi’s overalls respectively, and the vivid pink of Peach’s dress, were very good, but there’s no denying the R95H has much more pop on screen. The R95H’s colors can look a little washed out next to the Bravia 7 II at times, as the latter has such richness in its color profile. While the R95H delivered the brightness of the animation, it was hard to ignore how rich and deep the Bravia 7 II’s colors were.

Moving to Speed Racer, a real-world movie with equally cartoon-ish vibrant colors, the Bravia 7 II once again showcased richer, deeper colors, giving more detail to the gaudy outfits and decor of the 1960s-inspired aesthetic. The R95H once again delivered on the brightness, which really did make colors explode on screen.

On the surface, the R95H seemed to sacrifice some color accuracy in favor of the pop on screen and in some cases this worked. The orange walls and floors of the Racer home and Pops Racer’s shirt were much more vivid on the R95H, but had that nice clarity on the Bravia 7 II. Yellow however, such as Mom Racer’s apron, was much bolder on the Bravia 7 II.

Switching between picture modes, the Bravia 7 II’s Cinema and Professional (its equivalent Filmmaker Mode) were consistent in their color depth and volume, but Cinema mode suited the more colorful movies. On the R95H, while Filmmaker Mode had a nice accuracy to it, the colors were a bit lifeless in comparison to Movie mode. While the R95H’s Movie mode did sometimes sacrifice accuracy, its sheer brightness was better for Speed Racer.

Contrast and backlight

Firing up the opening scenes of The Batman, an often challenging disc for backlit TVs, with both models set to their more accurate Filmmaker modes (Professional for the Bravia 7 II), they do an excellent job. Contrast was strong on both TVs, with a great balance between light and dark tones, such as wall lamps and dark wood walls in Mayor Mitchell’s house, or the overhead lights with the black walls of the Batcave. In the default settings, the R95H again demonstrates its higher brightness, which results in stronger perceived contrast compared to the Bravia 7 II.

Dark tones were pleasingly rich on both TVs as well, and there was very little sign of blooming when viewed head-on. From an angle however, both TVs did show some signs of blooming during dark scenes, with the R95H’s more obvious than the Bravia 7 II’s. The Bravia 7 II did sometimes show some black crush, resulting in detail loss in objects, while the R95H did a better job maintaining these details, such as the texture in Batman’s armor and the lapel of Gordon’s coat.

Both TVs did a great job with shadows, but during The Batman, the Bravia 7 II cast deeper, inkier shadows across people’s faces. Switching to Dark City, which features plenty of these high contrast shadow shots, this was actually reversed. The R95H cast darker shadows that delivered a higher perceived contrast compared to the Bravia 7 II.

Black levels looked great in Dark City on both sets, although interestingly, in a shot where Murdoch talks to the hotel clerk, I noticed the R95H was subject to black crush this time and the Bravia 7 II actually had better shadow detail. Some dark scenes in the movie did reveal some more blooming, moreso on the R95H when viewed from an angle.

Trying out some black and white content, the R95H’s higher brightness creates a greater dynamic range and higher contrast in black and white movies. Watching Dead Man, any scene during the day has much more punch on the R95H, thanks to the aforementioned brighter whites. Both TVs do demonstrate deep dark tones though, with a good range of grays in between. The 4K disc is in SDR and when switching from Filmmaker to Movie, the Bravia 7 II has a significant brightness upgrade over the R95H, though the R95H’s brightness is much lower by default in this mode.

Brightness

Starting off with measurements, the R95H is significantly brighter with both TVs set to HDR Movie mode. The R95H clocked in at 1,960 nits HDR peak brightness, while the Bravia 7 II hit 1,163 nits. It’s a similar story in Filmmaker/Professional mode, as the R95H hits 1,977 peak HDR brightness and the Bravia 7 II hits 1,114 nits.

Fullscreen HDR brightness, however, is where things get interesting. In Movie/Cinema mode, the R95H clocks in at 607 nits, while the Bravia 7 II measures 830 nits. This means the Sony should display larger bright areas on screen with more punch and vibrancy.

Watching real-world content, the R95H demonstrates much higher brightness than the Bravia 7 II, especially in Movie mode and with HDR content on screen. Watching Lawrence of Arabia, specifically the desert scene where Lawrence and his guide fetch water from a well, the R95H demonstrates significantly higher perceived brightness, with the white sands and blue sky looking much more vibrant on the R95H. While the Bravia 7 II shows more detail in brighter areas, such as the patterns in the ground, the R95H clearly wins in the brightness battle here. This is interesting given that the Bravia 7 II had the higher HDR fullscreen brightness.

The same is true with more colorful movies. Going back to Speed Racer, the R95H shows much punchier highlights, such as the lights of the Mach 5, as well as glossier whites of the Mach 5 and Speed’s helmet. I did find that switching to each TV’s respective Filmmaker Mode resulted in much closer brightness, though the R95H’s peak areas were still a little brighter.

As for bright room viewing, the R95H shows how effective its anti-glare, matte screen is. Even with darker movies such as The Batman, there’s no sign of mirror-like reflections at any point. For the Bravia 7 II, bright room viewing is more of a challenge. With a brighter scene, such as the desert one from Lawrence of Arabia, the Bravia 7 II does a good job in a bright room. Any darker or high-contrast scenes, and mirror-like reflections are clearer.

The best buy

Which TV you should buy from these two really comes down to what region you’re in and your budget. In the US, it’s a close contest, whereas in the UK and Australia, the Bravia 7 II is much cheaper. In terms of actual performance, both TVs did well. Both TVs rendered challenging dark scenes accurately, with hints of blooming on both (though they were sometimes more obvious on the R95H). Both TVs showed excellent color reproduction, with the R95H showing higher color luminance, where the Bravia 7 II showed more color volume.

It’s difficult to choose between these two TVs, and while I preferred the Bravia 7 II in some reference scenes, especially with color, the R95H performed better in darker, more contrast-y scenes. While this is a battle of a mid-range RGB (Bravia 7 II) vs a flagship RGB (R95H), the Bravia 7 II puts up a heck of a fight and is the better value option for the budget conscious. If however money isn’t an issue, the R95H is the TV to pick.

Do either of these TVs topple OLED? For my money, not quite yet, but the Bravia 7 II delivers some seriously impressive colors and the R95H shows again what RGB tech can do for backlight control. OLED, it's definitely time for it to start taking note.

• Marvel's Wolverine will feature New Game Plus at launch
• The game will also offer extra features like Mission Replay and a Nightmare Doors side activity
• Nightmare Doors contains trials where players "confront Logan's nightmares to uncover his past"

Marvel's Wolverine is shaping up to be a big hit for 2026, and now Insomniac Games has revealed even more features that players can expect when the game launches next month.

Insomniac has confirmed that, unlike Marvel's Spider-Man and Spider-Man 2, Marvel's Wolverine will launch with New Game Plus, allowing players to replay the game with all their upgrades, unlocked suits, and more.

"In a New Game Plus, you can use all of your loadout and progression that you already unlocked," senior project director Jess Reiner-Reed told IGN. "You can choose whatever suit you want. So there's some fun things that happen there. And also there's some adaptations that are only available in New Game Plus. So there's some fresh gameplay for folks."

Insomniac head of technology Mike Fitzgerald added that these adaptations, which are unlockable buffs, let players "amp up the difficulty" or make Wolverine "much more powerful and aggressive character."

Alongside New Game Plus, the game will also offer Mission Replay, a feature that lets players rerun any mission for fun or to find collectibles, whiskey bottles that act as power-ups for Wolverine’s progression, and material crates holding raw materials that can be used to unlock new suits.

Another major feature is Nightmare Doors, a side activity containing trials where players "confront Logan's nightmares to uncover his past." According to Reiner-Reed, Nightmare Doors is "a story-driven adventure" where "Logan is pulled through uncovering these mysteries of his past. But you can go off the beaten path."

In these trials, Reiner-Reed added, players will encounter "manifestations of the horrible things happening in Logan's mind."

"There's many of those throughout the game with different types of trials," the developer said.

Marvel's Wolverine launches exclusively on PlayStation 5 on September 16 and will be "fully playable" on disc. The game's Performance Mode will also run at 60fps with ray tracing enabled on the base PS5, which Insomniac says is the default mode.

• Insomniac Games says the X-Men don't exist in Marvel's Wolverine since mutants aren't safe in this world
• Narrative director Walt Williams says mutants are outsiders, and Logan's POV is the perfect fit for this story
• Williams says, "We wanted to bring players back to that mindset of that these are characters who exist on the outside"

Insomniac Games has finally explained why the X-Men don't exist in Marvel's Wolverine, and it's all about telling a story where mutants aren't safe.

In the upcoming superhero game, Logan, aka Wolverine, is a former member of the mutant black ops unit, Team X, which also includes Sabretooth and Mystique, meaning the X-Men haven't been established in this world.

"So Team X is canonical. It is Logan's first team in his history," narrative director Walt Williams said in an interview with IGN. "It was a black ops team from the '70s made up of wetworks mutant workers. So in telling Wolverine's story, we wanted to bring it back to the beginning of where his story really began in that long string of teams. Because as we know, he's been a member of many teams by this point in his 50-plus year history.

"But really what we were looking to do is, because superheroes have become so mainstream at this point in just pop culture and everything through TV shows, comics, movies, and everything, that even especially with our own Spider-Man games, these are characters with superpowers that a lot of the world has accepted, that they are celebrated. They have parades, they are honored and stuff. But mutants at the core are outsiders, even within the Marvel universe. And we have not really had that aspect of them be brought out a lot lately in the stories that we get in the bigger mainstream."

According to Williams, the studio wanted to tell a story where mutants are still outsiders and don't have a safe place to go, such as the X-Mansion. Logan's point of view, he explained, is the "perfect" way to get that across to the player.

"We wanted to bring players back to that mindset of that these are characters who exist on the outside," he continued. "They are not superheroes. They don't have a safe space. They are people who are living in shadow. They are people who are hiding their powers from the world because they are afraid of what would happen if people would discover them.

"And so if we had started this story with the X-Men in existence, there would already be that aspect of a safe place for them. And we wanted to remind people that existence for a mutant is not safe. It's hard. It's scary. And entering that world through Logan, it really felt like the best POV possible."

Williams goes on to describe Logan as an "incredibly complex, layered character that has so much potential to write," but he's also "an outsider's outsider," even among other mutants.

"He was that perfect POV for us to be able to enter into that mutant world and begin to understand just how much mutants do not feel as if they belong anywhere," he said.

Marvel's Wolverine launches exclusively on PS5 on September 16, and its Performance Mode will run at 60 frames-per-second (fps) with ray tracing enabled on the base PlayStation 5.

• Marvel's Wolverine's Performance Mode runs at 60fps with ray tracing on PS5
• Insomniac Games says this is the default mode
• Senior project director Jess Reiner-Reed says, "The game feels super smooth"

Insomniac Games has confirmed Marvel's Wolverine's Performance Mode will run at 60 frames-per-second (fps) with ray tracing enabled on the base PlayStation 5.

That's according to senior project director Jess Reiner-Reed, who told IGN that the team wanted to make 60fps with ray tracing the default mode on PS5, something the studio has never offered before in games like Marvel's Spider-Man and Spider-Man 2.

"From early on in development, we knew we wanted to make this 60fps, working on the base PS5 in performance mode," Reiner-Reed said. "And we've definitely been able to accomplish that. The game feels super smooth."

Insomniac's head of technology Mike Fitzgerald continued, saying the studio has always had these fidelity and performance modes in previous games, and always "sort of last minute" added the performance mode with ray tracing.

"So for this game from the start, we said, ‘You know what? We know we're confident we can ship this now," Fitzgerald said. "This is going to be a 60 frames per second game with ray tracing as the PS5 should have. We're going to build the game around this and towards this.’ And it's the default mode for the first time for us in one of our games. It’s important for the presentation.”

Marvel's Wolverine launches exclusively on PS5 on September 16 and will be "fully playable" on disc.

Elsewhere, Insomniac Games has explained why Logan's suits regenerate after combat, with Fitzgerald explaining that there are "some practicalities to it" and "you can’t play through most of the game wearing just shredded rags on his body."

• Insomniac Games explains why Logan's suit in Marvel's Wolverine heals itself
• Head of technology Mike Fitzgerald says there are "some practicalities to it" and "you can’t play through most of the game wearing just shredded rags on his body"
• He adds that the team invested a lot of time in showing damage progression to suits

Insomniac Games has explained why Logan's suit in Marvel's Wolverine regenerates after fights, and its reason makes a lot of sense.

If you've watched any of Marvel's Wolverine trailers, you've probably noticed that after bloody battles, Logan's fancy hero suit heals itself of any combat damage.

Wolverine can heal his injuries very quickly thanks to his innate mutation, and since his skeleton is coated in an alloy called adamantium, he's near-indestructible. Initially, fans thought this might be why his suit was regenerating in the game, or perhaps it was even nanotech; however, Insomniac has settled the matter, explaining that it's simply about keeping the superhero vibe intact.

"I think mostly there’s some practicalities to it,” head of technology Mike Fitzgerald said in an interview with IGN. "You can’t play through most of the game wearing just shredded rags on his body. So we find the right balance between clothing that reflects the gameplay you’re doing and this brutal combat and the realities of that, and then finding the right moments to have it restore itself so you get that right cinematic feel of Wolverine."

Senior project director Jess Reiner-Reed also commented on finding the right balance, adding, "Early on you would be playing through missions and your clothes are shredded for way too long. You don't feel as powerful as you're playing through. So yeah, we definitely found that right balance was the right thing to say."

While Logan's suit will heal after fights, Fitzgerald explained that the team still had to show damage progression across his different suits and enemies, as well.

"We invested a lot in how damage is reflected on him in his suit, on enemies and their suits," Fitzgerald explained. "And then as you attack them, the blood sprays coming off them are some really interesting fluid tech. So it's not just pre-baked visual effects. These are actual blood particles coming out.

"They hit the ground and make the exact splatter mark they would make if they land on Logan. They leave blood there. If he walks through water, it washes off and leaves blood swirls in the water."

Marvel's Wolverine launches on PS5 on September 16. Insomniac recently confirmed that it will be "fully playable" on disc following Sony's decision to end physical disc production.

• Dolby confirms that Dolby Vision 2 HDR can come to existing 4K Blu-ray hardware, including both discs and players
• However, it will require the player manufacturers to work with Dolby on updates, and Sony says it has no plans to update, with no comment from Panasonic or Magnetar
• Dolby says that Dolby Vision 2 TVs will still show visual improvements with Dolby Vision 1 discs, because of the upgraded processing engine

Dolby Vision 2, the next generation of Dolby's HDR format, is rolling out to its first TVs right now — and Dolby answered one my most burning questions about the new tech, which is whether it can come to 4K Blu-ray as well as streaming.

Digging into the answer turns out to be mixed news. It was positive from a technical side: the team confirmed that Dolby Vision 2 can work on existing Blu-ray disc and players. However, making it work will require a firmware update to ensure full compatibility — and that looks like it could be the problem.

I sat down with Dolby Laboratories' vice-president of home devices, Chris Turkstra, and director of business strategy Jonas Klittmark. As you'd expect, both men were big cheerleaders for the new technology. But they were also realistic about the challenges around existing Blu-ray players in particular.

"UHD Blu-ray is fantastic," Klittmark said. "It's hard to get 120 megabits over streaming, right? So if you're the kind of person who cares about that, like I am, then it still makes sense."

However, "the problem with UHD Blu-ray is that the industry behind the consumer electronics devices that power it… some of them are not even there any more. My player happens to be an Oppo from 10 years ago, and I think those guys closed shop half a decade ago."

As he explains, that poses a potential problem for full Blu-ray compatibility. "While we wouldn't need any new hardware for those devices to have the optimal behavior for Dolby Vision 2, they would need a software update to make sure they're configured correctly."

And so far, the manufacturers still doing Blu-ray don't seem to be champing at the bit. We reached out to Panasonic, Sony and Magnetar to ask about their Dolby Vision 2 plans, and only Sony responded — and confirmed that that it won't update its existing players, as things stand. A statement from the company read:

"We do not plan to provide a software/firmware update to support Dolby Vision 2 on the current Blu-ray player lineup."

Why does Dolby Vision 2 require an update?

"We would love to see Dolby Vision 2 come to all devices. And I think over time, it will come to many more devices than TVs," Klittman says. "But UHD Blu-ray is a is a problematic one."

While supporting Dolby Vision 2 requires new hardware on TVs (it only works on specific TV processors), it doesn't require it for players because all the players need to do is pass data encoded in the stream onto the TV, and then the TV does the hard processing. However, the players need to know how to handle that data: "Since these are old players, there's probably a software update needed for many of them," says Klittmark.

Dolby's team highlighted that their particular concern is getting the data accurately over the HDMI connection. "There are so many nuances over HDMI," Klittmark says. "Different ways to prioritize things, different transmission formats, et cetera... I don't want to oversimplify the work involved. It's about making sure that all the Dolby Vision 2 Content Intelligence, as we're calling it, actually makes it through, and that the device is configured correctly for the best HDMI transmission."

As Chris Turkstra explains, the software update would be needed "in the formatting tools of the device. It's a fairly complex amount of change... while we definitely would love to have it, I don't know if there will be enough [demand] to get people to do that work."

Of course, the Dolby Vision 2 data would also need to be on the disc itself, so existing movies won't take advantage of it, and I doubt it's a format that will get people replacing their existing discs with a new version — but still, for new releases and fresh restorations, it would be great to have the extra accuracy it's designed to bring.

Dolby Vision 2 and 4K Blu-ray should still be better, even without upgrades

So what happens if your player's manufacturer is long gone, or is still around but doesn't want to put the effort into a firmware upgrade? You should still see some benefits from the new generation of Dolby Vision if you have a compatible TV, especially the new and significantly more powerful image engine.

"When it's just regular Dolby Vision, your Dolby Vision 2 TV will still be able to give you a lot of the benefits that we're talking about, including for UHD Blu-ray," Klittman says. "That's what's exciting: that will work for UHD Blu-ray regardless of whether the players get updated or not."

The upgraded processing engine at the heart of Dolby Vision 2 is capable of doing more advanced work with the existing metadata in Dolby Vision, and Dolby has said that there should be a clear improvement. I've seen a demo of Dolby Vision 2 processing with original Dolby Vision content on cheaper TVs, and there's a visible difference.

Of course, what I'm most interested in is how DV2-exclusive options such as Precision Black — in which data about how the creator viewed the mastering monitor when finalizing the color grade can be used to improve HDR visibility and accuracy — could help really dark movies to bring through more shadow detail while still staying true to the master.

Sadly cinephiles may face a frustrating choice if their favorite movies get the Dolby Vision 2 treatment on streaming: get the 4K Blu-ray version with the best picture quality overall, or stream in a lower bitrate but with potentially closer accuracy to the mastered image.

• Helldivers 2 has been added to the PlayStation Plus Game Catalog
• Its arrival comes alongside the new Devoid of Liberty story update
• A new Warhammer 40,000 warbond has also been added to the game

Helldivers 2, Arrowhead Game Studios' critically acclaimed multiplayer shooter, has officially landed on PlayStation Plus just in time for two huge updates.

As of today, Helldivers 2 is part of the PS Plus Game Catalog and is available to PlayStation Plus Extra and Premium members, reaching even more players since its successful 2024 launch. According to Sony, the game has now surpassed 22.9 million players across PS5, Xbox Series X and Series S, and PC.

"Players continue to recognize the value of PlayStation Plus and an ever-evolving Game Catalog with strong content specially curated for the PlayStation community," said Mary Yee, senior vice president of marketing at Sony Interactive Entertainment in a recent blog post.

"With the addition of Helldivers 2, a game that has already been enjoyed by millions of players worldwide, we’re further strengthening the value of PlayStation Plus and creating more opportunities for members to discover and engage with exceptional games."

The arrival of Helldivers 2 to PS Plus also comes alongside the launch of a new chapter, titled 'Devoid of Liberty,' a horror-themed narrative arc that "introduces the first signs of a nightmarish threat emerging from a mysterious void in the galaxy."

The opening will send Helldivers to the void as mutated Illuminate organisms begin appearing across the battlefield, and they'll enter a new biome filled with familiar foes in new forms.

In addition, the update arrives alongside a new warbond available for purchase in collaboration with Warhammer 40,000.

The 'Helldivers 2 x Warhammer 40,000: Castellan’s Creed Legendary Warbond' brings iconic elements of Games Workshop’s Warhammer 40,000 universe to the game, "drawing inspiration from the Cadian Kasrkin, the elite shock assault troops of Warhammer 40,000’s Astra Militarum," and offers new armors, weapons, and vehicle patterns.

• Sony has just revealed a new version of Ghost of Yotei
• The Complete Edition launches on October 1 and comes with a new expansion called Echoes of Sekigahara
• Existing owners will have to pay to upgrade their copies

Sony has announced a new Complete Edition version of 2025's Ghost of Yotei that comes bundled with an all-new expansion called Echoes of Sekigahara.

Echoes of Sekigahara is said to be a narrative-based addition that focuses on a new figure from protagonist Atsu's past. It introduces a previously unseen valley with new enemies, heavy weapons, armor sets, dyes, and more to discover.

It launches on October 1, 2026, alongside a single-player survival mode called Most Wanted. Andrew Goldfarb, the senior communications manager at developer Sucker Punch Productions, described this as the studio's "spin on a roguelike" in a new PlayStation Blog post.

"You’ll accept bounties in order to start new runs, where taking down enemies will earn you perks, as well as unlock additional characters to play as," he wrote, and teased that there will be "more to show soon".

Alongside these two new arrivals, the Ghost of Yotei Complete Edition contains all of the content previously part of the digital deluxe edition. It will cost just $69.99 / £69.99, which is the same price the standard edition cost at launch and $10 / £10 cheaper than the digital deluxe version was.

If you haven't bought the game yet, then this package seems like a great deal and you can actually buy it right now — though bear in mind you won't be able to access the new content until October 1.

There is, however, a big catch if you already own a copy of Ghost of Yotei.

Existing owners will have to splash out $14.99 / around £10 to upgrade their copy to the Complete Edition version, which is pretty egregious in my eyes — especially for digital deluxe buyers.

Those players will be parting with a total of $94.98 to experience what everyone who waited just one year can now get for 70 bucks.

What a way to reward some of your biggest fans, Sony!

There is some good news though. Even if you don't pay for the upgrade, all owners of the game will benefit from a new patch on October 1 which includes a range of quality of life features and a cool Beauty of Yotei mode with screensaver-like environmental shots.

According to the description of the new trailer on YouTube, there will be a physical PlayStation 5 version available as well, which might come as a surprise given Sony's plan to wind down the production of game discs.

It wouldn’t be a PlayStation exclusive without some matching hardware, right?

It’s an approach we’ve seen the gaming giant take before, and personally, I’ve always had a soft spot for the various Spider-Man-themed PS5 editions. Those consoles understood that a limited-edition PlayStation doesn’t necessarily need to reinvent the hardware itself. Rather, the right colors and a design that makes the console feel like part of the game.

Sony is taking a very similar approach with Marvel’s Wolverine, by unveiling a collection of matching hardware, including a limited-edition PS5 Digital Edition console — just be ready for the price, though.

More critically, though, we also have two DualSense controllers and console covers for both PS5 Slim and PS5 Pro. And, perhaps unsurprisingly, you get your pick between Wolverine's iconic yellow and a more subtle but still on-theme choice of 'Adamantium'.

Here's the full lineup, which lands on September 15, 2026, but will go up for preorder on August 19, 2026.

• DualSense Wireless Controller in Marvel’s Wolverine Battle Yellow Limited Edition: $84.99 / £74.99
• DualSense Wireless Controller in Marvel’s Wolverine Adamantium Limited Edition: $84.99 / £74.99
• PlayStation 5 Cover in Battle Yellow Limited Edition: $74.99 / £64.99
• PlayStation 5 Pro Cover in Marvel’s Wolverine Battle Yellow Limited Edition: $74.99 / £64.99
• PlayStation 5 Pro Cover in Marvel’s Wolverine Adamantium Limited Edition: $74.99 / £64.99
• PlayStation 5 Digital in Marvel’s Wolverine Battle Yellow Limited Edition Bundle with DualSense controller: $649.99 / £569.99

The center of the collection is Marvel’s Wolverine Battle Yellow Limited Edition PS5 Digital Edition bundle. This pairs the iconic yellow console with a matching DualSense controller and a copy of the game. The design is inspired by Insomniac’s “Battle Reborn” suit, with the familiar yellow finish broken up by claw marks across the hardware.

And it works quite well, as rather than slapping a Wolverine logo onto a yellow PS5, Sony has made the console look as though Wolverine himself has gotten his claws on and into it.

That design language carries over to the standalone Battle Yellow DualSense, as well as limited-edition console covers for existing PS5 and PS5 Pro owners. So you don't necessarily need to buy another PS5 to bring a little Wolverine into your setup, which is especially good news considering the price increases. And yes, the bundle does carry a hefty $649.99 / £569.99 price tag, but you can get the Wolverine yellow DualSense for $84.99 / £74.99 or snap up a PS5 cover for $74.99 / £64.99.

Sony's also giving you the option of trading the yellow finish for a metallic look inspired by the Adamantium material bonded to Logan. It’s a much more understated design, but arguably a better fit if you want something a little more subtle. This will be available as a cover for the PS5 Pro exclusively or as a DualSense Controller.

“I wanted to show Wolverine at his fiercest for Marvel’s Wolverine Limited Edition PS5 Console bundle and accessories,” explained Jock, a graphic artist who worked on Marvel’s Wolverine, who starts by drawing and was excited to ‘marry cutting-edge hardware with the energy and looseness of hand-drawn ink.’

“I’m stunned by how well the console and accessories captured the raw energy of the drawing, bringing Wolverine to life in a completely unique way,” concluded Jock. And it does look stunning and instantly recognizable as Wolverine.

You can see that philosophy pretty clearly in the final designs.

Preorders for Marvel’s Wolverine limited-edition hardware begin August 19 at 10 a.m. local time, with everything releasing and launching officially September 15 alongside the game.

So, yes, it wouldn't really be a major PlayStation exclusive without some matching hardware, and if Sony’s goal was to make a PS5 look like Wolverine had personally gotten his claws into it, mission accomplished.

There is something to be said about doubling down on physical products as Sony is pushing the charge with ending discs for titles. Good news is that along with the title art for Marvel’s Wolverine, Insomniac has confirmed a physical disc is in the box and will launch the game properly as well.

• Marvel's Wolverine is "fully playable" on a PS5 disc
• Insomniac Games says it encourages players to download the day-one patch when it arrives
• The studio's comments come after Sony shared its plan to quit making discs

Insomniac Games has clarified that Marvel's Wolverine will be "fully playable" on disc following Sony's decision to end physical disc production.

Speaking to Eurogamer, senior project director Jess Reiner-Reed essentially confirmed that the upcoming superhero game will be among the last PS5 games to be fully playable on disc, before they're phased out in January 2028.

"Marvel's Wolverine will come out in digital and physical [versions] and the game will be fully playable on the disc when you purchase it," Reiner-Reed said, but urged players to download the day-one update.

"With that said," the developer said, "we want people or encourage people to download that day-one patch because we are right now working on - or we're continuing over the next few months before release - to work on polish and some bug fixing."

Head of technology Mike Fitzgerald added, "I would say we're perfectionists. We take every minute we can get to just tweak this little thing, make everything a little bit better - we're gonna squeeze as much out of it as we can. And so if players download that patch, they get that little bit of extra time."

Despite the backlash that followed Sony's announcement to quit making physical discs, the company recently committed to its plan. PlayStation fans are still making their feelings known, however, and even descended on the latest Wolverine trailer to share how much they care for physical games.

Eurogamer also asked Insomniac about the situation at the game's preview event, but Fitzgerald said it wanted to focus on the game.

"We have been working on this for so long," he said, "we're so excited to have everyone in the office getting to spend time with the game, and I want to make sure we spend time talking about that."

Marvel's Wolverine launches on PS5 on September 16.

• Nintendo has reported that 61.5% of its sales between March 30 and June 30, 2026, were digital purchases
• This means 38.5% were physical sales
• Digital sales also include other add-on software and downloadable content (DLC)

While Sony commits to ending the production of game discs, Nintendo has reported that almost 40% of its software sales are physical.

That's according to Nintendo's latest financial report for the first quarter of fiscal year ending March 2027, which confirms that between March 30 and June 30, 2026, 61.5% of Nintendo's sales were from digital purchases, meaning 38.5% came from physical sales.

The Mario maker reports that in the previous quarter, it earned 132.7 billion yen from digital sales alone, a 90% year-on-year increase and a 2.2% increase in the proportion of digital sales compared to the same time last year.

Software sales for the Switch 2 also increased by 9.2% year-on-year to 9.46 million units, and original Switch software increased by 38.6% year-on-year to 33.81 million units.

However, Nintendo confirmed the 61.5% digital sales include other software, such as Switch Online subscriptions, Switch 2 Edition upgrades, download-only titles, and downloadable content (DLC) purchases, which would boost digital sales. It also doesn't include digital copies of Mario Kart World, that would be bundled with a console.

Meanwhile, for physical units, net sales for software bundled with hardware are classified as hardware sales.

"As a result, although bundled software such as Mario Kart World is included in the number of software units sold, the corresponding revenue is not recognized as software sales or digital sales," Nintendo said.

Nevertheless, the ratio is significant, and 38.5% in physical sales suggests that Nintendo doesn't plan to abandon boxed games any time soon, unlike Sony.

The PlayStation company shared its plan to retire the production of game discs by January 2028 last month, and has recently confirmed that it is "cautiously" moving forward with its decision despite the backlash (via IGN).

Although some game companies are willing to fight to keep physical games alive, Capcom has recently stated it's unlikely to be significantly impacted by the death of physical games, because 90% of its unit sales are digital.

• A new PlayStation 5 firmware update has been released for testing
• The update automatically enables PSSR 2.0 on PS5 Pro, even for games that support the previous version of PSSR
• This means better image quality for titles yet to receive the 2.0 upgrade

Sony has released a new PlayStation 5 firmware update for its beta program that automatically enables PSSR 2.0 (PlayStation Spectral Super Resolution) on PS5 Pro.

That's according to a new ResetEra post, which claims that emails have been sent to beta users allowing them to test out the upcoming features before they're released.

The most significant update is the addition of PSSR 2.0, the latest version of Sony's enhanced-performance technology, built for PS5 Pro. With this beta firmware patch, the 'Enhance PSSR Image Quality' option is automatically enabled by default, but can be toggled on or off in the settings menu.

As per the patch notes (thanks, PushSquare), when players enable this feature, enhanced PSSR is used "even for games that support the previous version of PSSR so you can enjoy a sharper and clearer visual experience."

PSSR 2.0 began rolling out in February, with Resident Evil Requiem becoming the first game to receive the update before a handful of other titles.

"The upgraded PSSR represents another step in our commitment to evolving the PS5 Pro experience," Sony said at the time. "Moving forward, most new PS5 Pro titles will launch with support for this enhanced PSSR, ensuring players continue to see improvements in image quality and performance."

Supported games include Silent Hill f, Monster Hunter Wilds, Dragon's Dogma 2, Dragon Age: The Veilguard, Control, Alan Wake 2, and more.

With the latest PS5 Pro beta update, players will be able to enjoy improved image quality for PSSR-supported games yet to be upgraded to PSSR 2.0.

Alongside this feature, Sony has added an option to turn off Bluetooth in certain countries or regions, in order to manage controller connections at esports venues and similar locations. You can check out the full patch notes below.

• We've turned on Enhance PSSR Image Quality as a default setting. When you update the system software, this setting automatically turns on. When you enable this feature, enhanced PSSR is used even for games that support the previous version of PSSR so you can enjoy a sharper and clearer visual experience.　
  • To turn off this setting, go to Settings > Screen and Video > Video Output > Enhance PSSR Image Quality.
  • This feature is available only on PS5 Pro.
• We’ve changed the following features for PS5 consoles and PS5 Pro consoles in certain countries or regions.
  • If you go to Settings > Accessories > General > Advance Settings and select Turn Off Bluetooth, you’re no longer able to put your console into rest mode. Additionally, HDMI link is no longer supported when you select Turn Off Bluetooth.
  • The Turn Off Bluetooth function is for managing controller connections at esports venues and similar locations. Do not use this feature for any other purpose.
• We've improved system software performance and stability.

Sony Inzone M10S II: Two-minute review

The Sony Inzone M10S was one of the best gaming monitors of 2024, offering uncompromising performance and a suite of practical tournament-ready features that made it the perfect choice for both professional and aspiring esports players.

Now Sony is back with the Inzone M10S II, a successor that delivers a number of small but nevertheless impactful upgrades while maintaining everything that made the original so good. It’s the same 2560 x 1440 resolution, but feels even snappier thanks to an increased 540Hz refresh rate and a lower 0.02ms response time. There’s even a dual mode, letting you bump the resolution down to 720p for a staggering 720Hz picture — invaluable for Counter-Strike 2 or Rocket League.

If that wasn’t enough, it’s now even brighter, coming in at up to 1,500 nits rather than 1,300, with the same rich colors and impressive contrast. There’s a new anti-glare coating on this model as well, which does a fantastic job of keeping glare at bay. You barely see any kind of reflections, even in a brightly lit room with ring lights and lamps pointed directly at the screen, preventing possible distractions in a tournament setting.

I did note that the matte texture makes it prone to smudging and quite hard to clean, though, which might be a little frustrating if you accidentally touch the panel while setting up.

Like its predecessor, the Inzone M10S II is packed with handy esports features like a dedicated 24.5-inch display mode, the ability to set up on-screen timers and crosshairs, or an option to display a frame rate counter to check your performance.

They’re all accessible via the monitor’s options menu, or the easy-to-use Inzone Hub software. The software even lets you import and export your setup, meaning you can take your at-home profile to a competition and replicate the same settings every time.

As this is a Sony product, it shouldn't come as much of a surprise that it also has a dedicated PlayStation 5 mode, which is activated automatically when the system is plugged in and optimizes the picture for console play.

It’s all brought together by a market-leading stand. The base included with the original Sony Inzone M10S is one of the best I’ve ever used, with a low-profile disc-shaped base that fits underneath your keyboard, plenty of vertical adjustment, and a full 360 degrees of rotation. The version that comes with the Inzone M10S is even better, benefiting from an additional few degrees of tilt to ensure a comfortable viewing experience no matter how you’re seated.

Sony Inzone M10S II: Price and availability

• Costs $1,099.99 / £1,199 / roughly AU$2,300
• Same price that the original M10S launched at
• The older model is now cheaper, though

The Sony Inzone M10S II is far from cheap, but it’s not really competing with most other gaming monitors. You can easily find capable 4K screens for far less than this price, such as the Gigabyte M32UC, which is going to be a better fit for those seeking to play cinematic games like Horizon Forbidden West or The Last of Us Part 1 on PC or console.

The Inzone M10S II is instead positioned as an alternative to models offered by dedicated esports brands such as BenQ Zowie. The Zowie XL2586X+ is a good point of comparison, as it’s very similarly priced at roughly $1,000 / £1,150 / AU$1,799. That model features a 600Hz 1080p TN panel designed for the best possible motion clarity. While technically faster, you lose out on the higher-resolution picture, more vibrant OLED colors, and stylish design of the M10S II.

If you’re looking at the Inzone M10S II, then the original Sony Inzone M10S, which is still sold alongside this newer model, is also a viable alternative. The M10S is now easy to find around $900 / £990 / roughly AU$1,600, so it comes in a decent chunk cheaper — though you do lose the spec upgrades.

Sony Inzone M10S II: Specs

Sony Inzone M10S II: Design and features

• Sleek and attractive
• Brilliant included stand
• Wealth of ports

The design of the Sony Inzone M10S II hasn’t changed that much from the original M10S — but that’s certainly not a bad thing. This is a sleek and attractive-looking monitor that comes bundled with a fantastic stand. Its base is a low-profile, 4 mm thin metal disk that fits comfortably underneath a keyboard and connects to a robust stand that keeps the monitor impressively stable.

You get the same full 360-degree rotation too, so you can freely show your screen to teammates in a match. The large power button and the thumbstick used to edit settings are still as intuitive and easy to use as before, and it retains smart design features like a power indicator LED that’s set off to the side so that it doesn’t shine in your eyes as you play.

The ports are identical to the original M10S as well: DisplayPort, two HDMI 2.1 ports, an upstream USB Type-C alongside two downstream USB Type-A ports for peripherals, a 3.5mm audio jack, and a single USB Type-A port reserved for software updates (accomplished with a USB stick). Its major software features are also unchanged, so you still get support for Nvidia G-Sync, HDR, and a suite of visual modes including an FPS Pro+ mode developed in collaboration with esports team Fnatic.

This isn’t the best looking aesthetically, but it makes it far easier to see key visual cues like the red dots that indicate rival players in a match of Call of Duty: Black Ops 7 or even obscured enemies in Valorant.

In terms of what’s actually new, it’s a subtle distinction, but the M10S II benefits from a wider -5 to 35 degree tilt range (its predecessor tilted at -5 to 25 degrees), which allows for even more flexibility in your seating position (the monitor also supports a 100 x 100 mm VESA mount, if you would prefer to use a third-party arm).

The Inzone M10S II is also coated with a new ‘Super Anti-glare Film’. It’s incredibly effective, and means you can play unimpeded with a literal torch pointed at the display. The matte texture does make it very prone to picking up smudges, though.

Sony Inzone M10S II: Performance

• 540Hz refresh rate is incredibly smooth
• Beautiful, vibrant colors and strong brightness
• Perfect for competitive games

The Sony Inzone M10S II looks pretty dim and unimpressive out of the box. The culprit? The power-saving mode is on by default. Once you turn that off and crank the brightness up to about 80%, the vibrant OLED colors are absolutely lush and look gorgeous. The sRGB profile is a good choice if you want color accuracy, and is usually my preference when using monitors, but I found the slightly poppier appearance of the standard preset very appealing.

The enhanced brightness of this model is immediately noticeable compared to the original M10s and, along with the effective anti-glare coating, ensures that the picture remains visible in even harsh lighting conditions like direct sunlight or with the display positioned next to a desk lamp.

In games, the performance is simply perfect. The 540Hz refresh rate is beautifully smooth, and motion is impressively clear. It elevates titles like Counter-Strike 2, where the enhanced smoothness genuinely helps with target tracking. The 0.02ms GtG response time certainly helps everything feel snappy, and sits among the fastest on the market.

Although my Nvidia RTX 4080 Ti-powered rig didn’t break a sweat achieving a stable 540fps frame rate at 1440p, you can comfortably lower the resolution to 1080p and maintain a decent level of picture quality — especially in the dedicated 23.5-inch display mode. Things feel even better if you take advantage of the dual-mode feature and crank it up even further to 720Hz at 720p, though this does come at a noticeable cost to picture quality.

Competitive first-person shooter titles are what this monitor was made for, but that doesn’t mean that it delivers poor performance in other genres. The grim world of Warhammer: 40,000 Space Marine 2 looked absolutely gorgeous with expressive colors and strong contrast, while Forza Horizon 6 benefitted hugely from the smoothness of VRR.

Even if I wouldn’t recommend buying the Inzone M10S II exclusively to play those kinds of games when cheaper 4K options are available, it’s good to know that you will still be able to enjoy a wide range of titles if you’re an aspiring esports player who picks one up for both practice sessions and home use.

Should you buy the Sony Inzone M10S II?

Buy it if...

Don't buy it if...

Also consider

Here’s how the Sony Inzone M10S II stacks up against the original model, plus a 4K alternative for those who want something for general use.

How I tested the Sony Inzone M10S II

• Tested for over two weeks
• Used as primary display
• Evaluated with a wide range of games

I tested the Sony Inzone M10S II for more than two weeks, using it as my primary monitor for PC, PS5, and Xbox Series X. Throughout my time with it, I tested a wide range of titles, ranging from esports favorites Counter-Strike 2, Rocket League, Fortnite, and Tom Clancy’s Rainbow Six Siege to popular shooters such as Battlefield 6 and Call of Duty: Black Ops 7.

I also tried a selection of more traditional games, such as Assassin’s Creed Shadows and Stellar Blade, to elevate its more general performance. During my time with the monitor, I endeavored to test each of its available features using both the built-in settings options and the compatible Inzone Hub software.

Read more about how we test

First reviewed August 2026

• Capcom doesn't think it will be impacted by the physical game market's decline
• The Resident Evil publisher says "approximately 90% of our unit sales are digital" and it doesn't "anticipate a significant impact at this time"
• Sony recently announced plans to end the production of game discs

Capcom has revealed that 90% of its unit sales are digital, so it's unlikely to be significantly impacted by the steady decline of the physical game market.

Things are not looking great for physical media. We recently learned that Sony plans to end physical disc production by January 2028, a decision that has driven a huge wedge between it and the PlayStation fanbase.

Organizations like the Entertainment Retailers Association (ERA) have also condemned the plan, calling it "a triumph of corporate convenience over consumer choice" and said that "the industry should be embracing every legitimate way consumers want to buy games, not narrowing their choices."

"Digital distribution has transformed gaming and is hugely popular, but it should complement physical formats, not replace them," CEO Kim Bayley said. "Consumers deserve the freedom to choose how they buy their entertainment. Removing discs doesn’t represent progress – it simply removes choice. That’s bad for gamers, bad for retailers and ultimately bad for the long-term health and preservation of our games industry."

With Sony seemingly steadfast in its decision despite the backlash, there's also speculation that the PS6 could be an all-digital console. Xbox is also reportedly working on a disc-to-digital feature, which would allow players to digitize their existing physical Xbox game library, and it all seems to be pointing towards a future where digital will reign over physical media; analysts also determine that the $7.2 billion second-hand video game market could be in danger as a result of Sony's decision.

While some game companies are willing to fight to keep physical games alive, others such as Capcom don't necessarily see it as a negative for the company, for now.

During its latest investor Q&A (via IGN), the Resident Evil publisher responded to a query about whether it would be impacted by these recent developments to the physical game market.

"Approximately 90% of our unit sales are digital," Capcom said. "We do not anticipate a significant impact at this time."

In its Q1 financial results, the publisher also revealed that Resident Evil Requiem has now sold over eight million units, noting that the series continues to "increase in popularity with a broad, global audience while sales of the previous titles in the series also grew steadily due to pricing initiatives." However, it's unclear what the divide is between digital and physical sales.

Elsewhere, Sony is reportedly notifying consumers of its decision to end physical disc production in less than two years, with new labels on PS5 consoles.

• Sony has reportedly started putting labels on PS5 boxes, informing buyers of its plan to end physical disc production
• The label allegedly features an "important notice" for consumers
• Sony's plan comes into effect in January 2028

Sony is reportedly notifying consumers of its decision to end physical disc production in less than two years, with new labels on PS5 consoles.

As VGC reports, X user and content creator Behind the Games posted a photo of what they claim is a new sticker on the back of a PS5 box that alerts buyers of its plan to end the production of game discs by January 2028.

"IMPORTANT NOTICE: From Jan. 2028, newly released games on PlayStation will be available for purchase on PlayStation Store and at retailers in digital format only," the message allegedly reads. "Discs for games released before Jan. 2028 can continue to be played on this console."

Behind the Games added that the photo is not theirs but from a "trusted source," but it's important to mention that the label hasn't been verified just yet.

Sony shared its plan last month and received overwhelming backlash from PlayStation fans. Organizations like the Entertainment Retailers Association (ERA) have also condemned the plan, calling it "a triumph of corporate convenience over consumer choice."

After remaining silent against the pushback for weeks, Sony CFO Lin Tao addressed the situation during the company's Q1 2026 earnings announcement, confirming that it is "cautiously" moving forward with its decision (via IGN).

"There are various reasons we made this decision, the biggest being that digitalisation of contents overall has been progressing, that’s the big factor. It’s not just for PlayStation, but for all kinds of content, digitalisation is progressing," Tao said.

"And so, when we think about the future, we put in a lot of thought and time, and we cautiously considered this, and we came to this conclusion, and we’re going to cautiously move this forward."

• Audeze is "deeply involved" with the creation of future PlayStation audio tech
• Peter James, marketing director at Audeze, says there are products in "various stages of development"
• He adds that it's Audeze's goal to bring gamers "better sound"

Premier audio brand Audeze is growing its partnership with Sony and is currently "deeply involved" with the development of future PlayStation audio hardware.

Sony acquired Audeze, a leading audio technology brand and pioneer of high-end gaming headphones, in 2023 to continue its focus on innovation in PlayStation audio. Audeze still operates independently and continues to develop multi-platform products, while also benefiting from access to the PlayStation ecosystem.

Speaking to TechRadar Gaming Managing Editor, Rob Dwiar, during a visit to its California HQ, marketing director Peter James called the partnership "unique" considering Audeze still runs as its own brand.

However, Audeze's "primary function within PlayStation is to develop the next generation of PlayStation audio" and to always offer the "best performance" and "the best sound," he went on to say.

"We're more deeply involved with the creation of PlayStation audio products [than ever before], where you could kind of think of us as the audio Skunk Works for PlayStation."

In terms of specific ways of approaching PlayStation audio products' development, James said, "acoustically speaking, we are developing the sound of all future PlayStation audio products," while he also revealed that there are products that have yet to be released and are in "various stages of development."

The marketing director described how Audeze aims to bring the audio quality of planar magnetic drivers to a wider range of people, and being part of Sony and PlayStation can boost that enormously. "[We're] bringing people to better sound, who in many cases wouldn't know what planar magnetic technology is, [and] wouldn't know why it sounds better."

"They're going to buy [an official headset] because it's a PlayStation headset, but now they're getting an elevated audio experience, and potentially, once they become aware of it, chasing down even more elevated experiences," James said.

"The more people get those [drivers], the more that raises their expectation of the next headphone they buy", he went on to say.

He added that the path ahead is going to make Audeze hardware and the tech more "more ubiquitous" and more accessible: "Previously, the most accessible planar gaming headset was $299, and then we went with Sony and made it $149 [with the Pulse Elite headset], so it's slowly pushing its way down to be much more accessible."

And with Audeze adding another planar magnetic gaming headset to the market in its Audeze Maxwell 2 ANC, as well as being part of every PlayStation audio product henceforth, the future is looking bright and full of premium audio for gamers.

I've been an avid PC gamer since the early 1990s. My first computer, bought specifically to play Star Wars: X-Wing, was a plucky 486DX running at 33MHz (cutting-edge at the time — well, only behind the 486DX2, but that was too pricey). I have fond memories of playing Doom on the office LAN and getting addicted to Quake when online gaming began (thanks to QuakeWorld, which made dial-up modem play viable as opposed to an utter lag-fest).

I could ramble on with nostalgic gaming recollections, but the point is I played Quake obsessively — to a high competitive level in a clan — then I lived and breathed EverQuest for several years, and down the line, I was totally lost in World of Warcraft for another few years, and so on.

I've always been a PC gamer, through and through — I did swear off MMORPGs, mind, as I can't be trusted not to lose large chunks of my life to them. From time-to-time, I've owned a console too, but it's always been by backup, second-string gaming machine, used sparingly.

Not anymore, though. My PC is now used just for work, and I haven't played a game on it for a year or so.

I am now, officially, a PS5 gamer. A console is my main gaming machine for the first time in my life. So, how did that happen?

A vow revoked and a lesson learned

If you happen to have read my past articles, you may recall that at the end of 2024, I vowed I wasn't going to buy a PS5 Pro last year. My masterplan was to avoid purchasing a new console, and use my gaming PC on the main TV in the living room for couch co-op sessions with my wife instead, while still being able to game in the study with my computer if I wanted.

Then came Black Friday in November of 2025, and I did a complete 180. I pulled the trigger on a good deal on a PS5 Pro bundle.

What changed during the course of 2025? Firstly, I realized that running cables from a PC in the study through to the living room TV is more of a hassle than I'd anticipated. Getting everything set up at the end of each week, ahead of my weekend gaming sessions, quickly became tiresome.

Moreover, I found my long HDMI cable wasn't reliable enough. The picture on my Sony OLED TV kept flickering, which was maddening, frankly. And for no apparent reason, too — sometimes it'd happen, sometimes it wouldn't. I never found out why. I also had occasional issues with my game controllers (typical PC hardware gremlins that were perfectly resolvable, but still a pain).

On top of that, having held off on buying a GPU upgrade for my PC — my plan for the money I would've spent on a PS5 (and did eventually spend on the console) — I was put off by issues around the RTX 5070 when it arrived. This was the graphics card I really had my eye on, but it was a disappointing incarnation in terms of its performance upgrade (and that 12GB of VRAM). The initial above-MSRP price only rubbed salt into these wounds.

The prices of AMD's rival GPUs were off-putting, too, in the early days of RDNA 4 — although that did change, and I came close to buying an RX 9070 XT when pricing finally settled down.

However, at that point, it was too late. I was already frustrated with my whole piping-the-PC-from-the-study situation, and by the time that Black Friday PS5 Pro bundle bargain popped up (it really was a great deal), I just couldn't resist.

I absolutely don't regret that decision, nor am I upset about buying a console with the money that was earmarked for upgrading my ailing RTX 2060 Super. That's not to say I don't miss some things about PC gaming, or that I'm not super-annoyed about Sony's latest stunt regarding discs.

I'm going to cover both sides of this gaming coin here. First, I'll tell you why I'm loving my time with the PS5 Pro now, before discussing what I don't like on the Sony side of the fence, and the clear, undeniable strengths of PC gaming.

PlayStation bliss

I did own a PS4 Pro before — as my second-string gaming device, backing up my PC — and it's striking just how much slicker the PS5 Pro is. For one thing, I found my PS4 Pro to be the noisiest console I've ever had, by far. It was noisier than any PC I've owned, and some vacuum cleaners for that matter.

The PS5 Pro is nicely quiet, super-fast to boot up, and more importantly to wake and sleep. This means it's dead easy to fire up the console for a very quick gaming session if I only have 10 minutes to spare and just want to dip into something briefly, or to pause a session (put the console in rest mode) if I need to pop out. It all feels very seamless, and there's not a snaking USB extension cable or HDMI lead in sight.

Visually, everything looks top-notch on my 4K OLED TV, too. Baldur's Gate 3 — yes, I was very late to the RPG — looked nothing short of fantastic, and the PS5 allowed me to play the adventure co-op with my wife in what was the best co-operative gaming experience I've ever had. Being able to dip in and out so easily, as we cooked dinner, then ate, then fed the dog, going back and forth to the living room in-between, was a major boon.

The PS5 has reminded me just how good couch co-op can be, and I've been enjoying indie games like Dysmantle, which has same-screen co-op (like Baldur's Gate 3). We've been playing a bunch of these games — it's the Diablo 4 expansions next, if you're curious (we played the base game on PS4, so I'm keen to see how good the game looks on its successor console).

The PS5 controllers were an unexpected bonus, too. They're so much better than the PS4, and they even fit my wife's smaller hands (she finds many controllers too big and painfully cumbersome, but not the DualSense).

Of course, a clear benefit of the PS5 over the PC is that there's no messing about with GPU drivers. By which I mainly mean poring through Reddit 'megathreads' worrying about whether the latest Game Ready installment is actually going to be a step backwards for my PC, perhaps in terms of performance for a particular game or bugs (or broken features). Windows 11 bugs are another issue, too. (Yes, there can be software glitches on the PlayStation, but nothing like what some PC gamers must endure at times.)

Then there's the RAM crisis. Buying PC components is just getting more and more painful. Obviously RAM and SSD prices are through the roof already, but PC gamers waiting on a GPU upgrade (as I was) are facing unpleasant hikes due to the price of video memory (VRAM). Indeed, the latest rumor from YouTube channel Hardware Unboxed is potential price hikes to the tune of 40% in some cases with Nvidia GeForce GPUs. Add plenty of seasoning with that assertion, of course, but it's clear enough that GPUs are getting pricier due to VRAM increases, especially for graphics cards loaded up with more of this memory (naturally). CPUs are in line to get more expensive, too.

The crisis in general is predicted to intensify as this year rolls on, and 2027 could be worse still — perhaps the worst ever year for the memory industry, alarmingly. With no need to upgrade my desktop, I'm glad to be out of this gloomy environment of spiraling costs. The situation has turned planning PC upgrade paths, which used to be a rather fun, sometimes even exciting, exercise, into a thoroughly depressing experience.

You might now be shouting at your screen about Sony hiking PlayStation prices, too, and that's a fair point. But I won't have to worry about upgrading my console, and it will happily sit in my living room for the next few years, blissfully not needing any new components (while my work PC can carry on happily with its RTX 2060 Super).

Granted, that's just my personal situation, and if you are thinking about buying a Sony console, with the new price of the PS5 Pro, I don't know if I'd recommend pushing for it over the vanilla PS5 now. (I got mine on sale for about 60% of the current lowest retail price). The base PS5 is still a great console, though, and it'll likely make a lot more sense for the average gamer — especially come Black Friday, when with any luck, there'll be some good deals around once again.

PC strong suits

There are a good number of plus points for PC gaming versus consoles, so as promised, I'll examine the other side of the equation here, and pick out what I particularly miss.

There are some notable downsides with console gaming, including that you need to pay for a subscription to access online multiplayer (in the main, although obviously that doesn't include free games like Fortnite). This doesn't bother me personally because I don't really play online anymore — as I said early, it's mostly about local co-op for me these days. But I totally get why having to pay for a monthly plan irks gamers who want to play the latest shooter, strategy epic, or whatever else, online.

What does bother me, though, is the price of the actual games on the PlayStation. One of the major strengths of the PC is that games are cheaper than they are on console, from big-name releases (which still command a weighty premium... just not as hefty as on consoles) through to a raft of indie titles, which are often very competitively priced.

Not only this, but you get regular Steam sales where some games get huge discounts (and you can pick up older titles in particular for a song), or value-crammed GOG bundles, and also the likes of Epic giving away some compelling offerings for free. You don't get any of this on the PlayStation, and Sony's store does seem to like to charge a lot, even for older titles. For me, this is probably the biggest drawback with shifting over to being a PS5 gamer.

A recent development compounded the situation, too, when we learned that Sony is doing away with physical discs for the PlayStation. I was already aware of the situation with the price of PlayStation games, of course, which is why when I bought my PS5, I chose a bundle with a disc drive.

That meant I could pick up, for example, the physical disc copy of Split Fiction for 40% less than the digital copy on the PlayStation Store. I can also currently purchase second-hand, older games on disc at a considerable saving. But all these possibilities are heading rapidly out the window when 2028 rolls around, and Sony enacts its plan to push physical media completely aside with the PlayStation.

I won't go into this controversy in depth here – we've covered it extensively elsewhere — but suffice it to say that I'm not happy about the idea at all, and it feels like a cynical and generally anti-consumer practice. And no matter how many gamers sign petitions (here have been a lot) it doesn't seem like Sony is going to backtrack on this one (aside from maybe niche collector's editions or the like, and if we're lucky enough to get those, they will of course cost a fortune).

You could argue that the PC is digital-only already: desktops don't come with disc drives anymore, those days are long gone. But what Sony is doing is quite different, given that PC gaming is an open platform bristling with different stores and options for digital purchases, whereas Sony has the PlayStation ecosystem locked down to its store. With physical media banished, a key choice and avenue for money-saving (don't forget, you can also recoup money by selling on your disc copy of a game) is removed, and Sony has an unhealthy level of control over the whole shooting match.

Okay, so I don't feel like the PlayStation disc drive I bought is useless — it'll be good for a long while yet, and I'll still be able to play older games on it, including my PS4 back catalog, plus I can use it for Blu-rays. Regardless, this Sony decision is a painful kick in the shin.

Finally, another obvious plus point for PC gaming is the variety of mods floating around and customization possibilities in general, which you don't get with a console. The PC is quite simply a more open platform all-round — although in my case, modding isn't something that I'm all that into anyway.

Disc-less Elysium

Let me finish by pointing out the obvious: a lot of this is very subjective. You may have quite different opinions. You might live and breathe mods. You might want games to look out-of-this-world, with visual options cranked to the max (and be able to afford the necessary PC hardware to achieve that). You may never want to play a shooter without a mouse and keyboard (I get that one, but I'm okay with a controller now — and I don't play competitively anymore).

You may never, ever, abandon your gaming PC. They may have to extract it from your cold, hardened claws after rigor mortis has set in, having expired clutching the object you love most in the world, in the hopes somehow taking it with you into the afterlife.

The point is, there are all sorts of pros and cons to be tailored for your own personal take on the gaming PC versus console debate. But for me, I'm really happy with my PS5 and I am looking forward to enjoying my living room, and co-op, gaming experiences for years to come... discs or no discs.

When Sony announced that it would no longer be producing physical PlayStation discs from 2028, the response was not positive, to put it lightly. Yes, PC gaming may now be almost entirely digital, and things have certainly been moving in a similar direction with consoles over the last few years, but ceasing production of physical games entirely? It’s a significant step many didn’t want to happen so soon.

PlayStation fans have been vocal in calling out the negatives of Sony’s decision, specifically what this means for game ownership, preservation, and collectors who enjoy buying physical. The company has been reticent to address the backlash, but the comments section of every blog entry, social media post, or trailer release since the announcement is full of anger, pleas to reverse the decision, and glib remarks at Sony’s expense.

For anyone, like myself, who has enjoyed building a collection of physical games over the years across multiple console generations, it’s devastating news.

And I don’t think Sony’s refusal to address any of the feedback is helping matters. Yes, we’ve seen fan uproar dissipate into nothingness with countless hot-button issues in a matter of days in the past — but the vociferous fans don’t appear to be going away right now.

But I think some companies aren’t letting physical games go anywhere either.

A new challenger approaches

“What we've seen and what I have taken from all of the discourse is that there is an incredible passion for physical games and other physical objects. The digital space can never provide the same kind of satisfaction that people get from a tangible good.”

This is the view of Amanda White, co-founder of iam8bit. After starting out hosting pop culture workshops, the company has since produced countless pieces of video game merch and memorabilia over the past 20 years, as well as vinyl releases for popular soundtracks and physical editions for games across several platforms. Yes, they have standard boxed releases for games on PS5, Xbox, and Switch, but the company truly stands out for its jam-packed and reverential physical collector’s editions.

Scroll through the store now, and you’ll see a copy of Lies of P that comes with a wood-carved and hand-crafted marionette puppet, a Blue Prince bundle that includes printed versions of two memorable picture books from the game, and a The Outer Wilds set featuring a traveller’s bag and a replica of Chert’s bandana.

If you’ve played and are a fan of any of those games, you’ll immediately understand the connection between the extras that are included and the game itself, and why people are willing to part with their cash to own something that they can add to a collection, display at home, or carry around with them.

“We started to realise that there was something that people saw as incredibly valuable in these tangible goods,” Amanda explains of the company’s origins. “These unique tangible goods held memories for them that related to these community experiences they were having.

“So, we want to put in the extraordinary effort required to get the gasps of delight when something lands in someone's mailbox and they open it and experience it for the first time.”

Let's get physical

It’s the same fan passion that drives Limited Run Games: a similar outfit that’s published over 1,000 physical and digital game releases since its inception in 2015. Its motto, ‘Forever Physical’, defines the exact mindset of the PlayStation fans who are disappointed with Sony’s pivot to a fully digital future and what’s lost by moving in this direction.

“I think you're losing a key part of the experience, right?” suggests Brendan Madigan, CFO and General Manager at Limited Run. “Because, obviously, the actual media is a key part of that, and I think that's where we, at Limited Run, have a responsibility to our fans to innovate and to improve the experience.”

“I think where our fans have been clear in what they want is that they want collectible products that hold value, and they want the product to be an experience,” he continues. “I’ve always viewed our product as different from a retail offering anyway, because it's highly collectable, it’s very curated, with tonnes of added features and pack-ins to it. The delivery mechanism will always change…but nothing changes about the core experience that the collector wants to have.”

It comes down to the fact that the physical offering from the traditional industry has only grown more sparse over the years. Open a PS5 or Nintendo Switch game box now and you’re more often than not presented with the sad sight of a lonely disc or tiny cartridge set into an empty expanse of plastic. You’re lucky if you get a quick start guide, or a sheet of paper with a DLC code. A full manual? You must be joking.

Similar to iam8bit, the store pages of Limited Run are filled with physical game releases that span the entire range of consoles and generations — from bulky NES cartridges to the slim cases of Nintendo Switch titles.

The products that stand out most, again, are the most recent limited edition launches, with games like Tomb Raider, Silent Hill, and Star Wars Zero Company in beautiful presentation boxes that are filled with soundtrack CDs, trinkets, posters, and other unique extras relevant to the game or its universe.

Sales figures discussed by analysts might paint a grim picture for physical releases, but iam8bit and Limited Run both emphasize just how quickly some of their releases sell out — and how even restocks of older products that were brought back by fan demand are scooped up in no time. The audience and the demand do not appear to be shrinking from their perspective.

Digital is inevitable, but there is hope

As for fans signing petitions trying to convince Sony to reverse its decision, Limited Run’s Chief Operating Officer, Nic Ashford, is unfortunately not hopeful for the outcome they're seeking, but does see what they're standing for as an opportunity.

“Look at the numbers; they're not going to change, they're not going to go back. They can't afford to and it doesn't make sense. But that doesn't mean a company like Limited Run couldn't come in and say, look, we certainly know that 350,000 people want you to keep this going, and it could go up. How about working with us to come up with a solution that works?

“We've got to find the right solution for the number of people who are out there in the minority who still buy physical product,” says Nic. “Some might say, outside the industry, that’s a somewhat flawed business model. But, in fact, it isn't, because those people who seek that type of product will always seek that product out.”

He likens it to this wider push, primarily from younger generations, who want to reconnect to the physical world in our increasing digital age. In the same way that 4K Blu-ray, CDs, and, of course, vinyl, are all in various states of resurgence, it seemed inevitable that video games would also be swept up in this growing demand for and appreciation of physical goods.

“We have, over the last couple of years, set this company up in preparation for this moment,” continues Nic. “Physical is something that we’re intrinsically involved in, and we've been aware that this was going to be coming for several years — practically over a couple of decades. So, we focused on making things more of an experience for the fans and adding value.

“They are actively going out and seeking a connection with something real, something you can hold, something you can touch, and that you can own. That's encouraging. Today's generation and the next generation of physical buyers are going to be people who have that or grow into that, but they'll have a component of nostalgia in there as well.”

Blowing on the cartridge is here to stay

Nostalgia brings me nicely onto another aspect of why physical games are so important to many — one that grows even more important as gaming and console generations keep moving forward. Preservation.

If you buy a game digitally, then there’s the fear that it could disappear and no longer be accessible at any moment. Sure, Sony isn’t going to turn off PS5 game downloads any time soon, but the PlayStation Store on the PS3 and PS Vita is about to close.

And while the company has promised downloads will be possible “for the foreseeable future,” there’s always the thought in the back of your mind that, eventually, they’ll switch it off for good.

So, being able to scan your shelf or dive into a box and find that old copy of something you’ve been craving to play is clearly a driving factor for many physical game buyers — be it a rare PS1 cult classic like Parasite Eve 2, a slightly dusty but incredibly valuable Conker’s Bad Fur Day N64 cart, or a copy of Pokémon Red on the Game Boy that you last remember playing by the light of streetlamps in the back of a car.

One company whose goal is to preserve classic games and ensure you can play them as authentically as possible is ModRetro.

It started by launching the Game Boy-inspired Chromatic and just recently launched the M64, a modern take on the Nintendo 64 that I found was a terrific way to play that console’s games in 2026.

“We wanted to basically design these exactly with this core intention to preserve the authenticity of the gameplay experience,” explains ModRetro CEO Torin Herndon. “That's also why we publish games and re-release games, too. In terms of retro games, the collecting of them is a bigger thing than the playing of them, and one of the goals of ModRetro is to make those games playable again and make them accessible again.”

Original Game Boy and Nintendo 64 cartridges are simply slotted into the Chromatic or the M64 as you would with any standard version of the respective console.

And while some modern quality-of-life touches make things easier or smoother compared to the classic consoles, you’re effectively playing the exact same physical game that you may have owned for years or picked up in a second-hand store earlier that day. With a digital-only future upon us, that won’t be possible.

“The thing that's upsetting to people on the surface is this idea of ownership: that if you don't physically own a game where the game is on physical media, it can easily lose support at any moment. It can effectively be taken away from you in some sense,” says Torin in response to the reaction to Sony’s announcement. “And given that you paid AAA prices for some of these games, that is not a super consumer-friendly option.

“Obviously, these companies don't have a choice but to move away from physical media, because the overall business model of these companies is kind of reliant on having moved away from them in the first place. Most of the physical media that you can buy is actually just a key that allows you to unlock the game and download it.

"That’s another thing that I think is interesting, maybe more interesting even than ownership, is that back in the day these games were baked onto physical media and were more reliably baked before you bought it.”

Overcoming tech challenges

That’s less of an issue when we’re discussing the Game Boy and Nintendo 64 games that ModRetro is focused on, but there will come a point when these same conversations will be happening about more modern games that are reliant on day-one updates and DLC.

The topic is big enough for a different discussion entirely, but it’s a challenge that companies like iam8bit and Limited Run Games also need to be aware of with physical media in the modern era.

Jon Gibson, co-founder of iam8bit, responds to this by saying: “We've been on the side of positivity always, and we're looking at this from a perspective of, OK, you can't change what you can't change. But how can we pivot to embrace what we do so well and to give fans things that they will enjoy and cherish and love in that physical form?

“We hope that 20 years from now, 30 years from now, 50 years from now, people are going to find a copy of a game, or a record, or a CD that we minted that they had never heard of and they give it a shot. They pop it into their console, or they put it on the record player. That's really exciting to think about that we helped to give that thing staying power, whereas, otherwise, it might be deleted digitally when a licence expires.”

That optimism is echoed by Amanda. “As John said, we're going to lean into this aspect of what we already do and have been doing for 20 years, and we'll continue to do it. If that means we need to pivot a little bit so that we're making goods that are sitting beside PlayStation products, rather than direct physical PlayStation games, then we'll do that. We’ll still do our best to make those fans happy and build a robust experience around the IP they love.”

What’s clear speaking to iam8bit, Limited Run Games, and ModRetro is that the passion for games is there in abundance, as is the drive to provide their fans of today and in the future with ways to experience and enjoy the games they love in a physical form, not just as the ones and zeros they’re made from.

In 2025, Hisense introduced RGB mini-LED to the market and since then, most TV brands have thrown their hat into the RGB TV ring. TCL, Samsung, LG and Sony are major names who have adopted the new technology, which was dubbed as being a potential ‘OLED killer’, thanks to boasting higher brightness and bolder colors, and claiming to deliver black tones to rival the best OLED TVs.

One of those new TVs has just entered our lab: the Sony Bravia 7 II. The more affordable model of Sony’s RGB TVs, sitting below the flagship Sony Bravia 9 II, the Bravia 7 II is priced fairly similarly to rival mid-range OLEDs. So, I decided to see how the Bravia 7 II would fare against the five-star LG C6, one of the best TVs I’ve tested in 2026 so far.

For these tests, both TVs were set to their respective, out-of-the-box Filmmaker Modes. For the Bravia 7 II, this was called Professional in SDR/HDR, and Dolby Vision Dark when displaying Dolby Vision content. On the LG C6, it's just the Filmmaker Mode.

Colors

Starting with The Super Mario Galaxy Movie, both the Bravia 7 II and C6 demonstrated excellent color reproduction. In the opening scenes, the Lumas’ colors are richer and deeper on the C6, whereas they were brighter on the Bravia 7 II, which worked well for highlights on screen such as when Rosalina uses her wand.

While most colors were a bit punchier on the C6, I did find that yellows and golds actually appeared more vibrant and eye-catching on the Bravia 7 II, shown by the light from the fire reflecting in Rosalina’s hair and face.

Later scenes showed that the C6 had much bolder reds, shown in Mario’s hat and overalls. The C6’s colors also looked more accurate for the most part to me, though during an early scene where Mario and Luigi ride through the desert, I was drawn to the Bravia 7 II’s warmer color tone, with the desert sand looking more true-to-life on the Bravia 7 II, whereas it looked too red on the C6.

There was no denying though the C6’s color handling allowed for more texture and saturation within them, which worked well for this animation.

Moving to a movie with some real-life elements, Speed Racer, both TVs did a great job reproducing the movie’s over-saturated, cartoonish color profile. The ’60s-inspired, often-garish color of people’s outfits and the decor of the Racer family home really popped on both screens. S

imilar to Mario Galaxy, the C6 demonstrated deeper, bolder colors, while the Bravia 7 II showed brighter colors. In the scene in the park where Speed first meets Trixie when they’re both children, the red of Trixie’s dress is punchier on the C6, but the green grass is more vivid on the Bravia 7 II.

In some instances, the Bravia 7 II’s colors did look a little washed out, bordering on too-pale, which was exaggerated by comparing it directly to the C6’s color depth. Reds appeared slightly orange on the Bravia 7 II compared to the C6, a similar story to what happened when I compared the Samsung S95/S99H with the G6, with the former showing orange-tinted reds.

Still, color reproduction is one of the selling points for RGB TVs, and while I felt that the Hisense UR8 (that company's own more affordable RGB mini-LED TV) didn’t stack up that well for color against the Samsung QN80H standard mini-LED when I tested the UR8 and QN80H side-by-side, the Bravia 7 II is putting up a solid fight against the LG C6 OLED (which is a superior TV to the QN80H).

Contrast/dark room viewing

The Batman is something of a torture test for TVs due to its low brightness, which means dark tones can look inaccurate. While OLEDs do a better job displaying it generally, recent models such as the LG G6 have over-brightened the dark tones at times — but the C6 has always handled it well, so it's a great test against the Bravia 7 II.

Watching scenes from the Batcave early in the movie, both TVs demonstrated strong contrast with a great balance between light and dark tones. The C6 had a higher perceived contrast as its black tones were much deeper, thanks to OLED’s pixel-dimming abilities, which meant the dark surroundings that contrasted with the overhead lights and lights from Bruce’s equipment create a higher dynamic range.

Still, the Bravia 7 II demonstrated strong backlight control, better than almost any standard mini-LED TVs I’ve tested this movie on. I also praised the Hisense UR8 for this, so it certainly looks like RGB TVs have unlocked better contrast and dark area control for LED TVs.

In the subway fight scene, the C6 once again proved to have the better black tones, accurately capturing the gloomy tone of the film. However, on the Bravia 7 II, more details such as Batman’s armor and the texture of the back wall were legible, thanks to showing them in slightly higher brightness (more on that in a while), compared to the C6.

The C6 itself showed the occasional sign of black crush compared to the Bravia 7 II. For out and out contrast though, I preferred the C6’s look, but the Bravia II was impressive.

Watching in a dark room, the C6 has the benefit of no backlight, meaning there was no ‘cloud’ effect, where a backlight is obvious over a dark scene. While the Bravia 7 II did show the odd moment of clouding, again it showed excellent backlight control compared to the competition.

There was also very little blooming in the scenes I tried; it only became obvious when a bright menu appeared on the bottom of the screen. Even the Bravia 7 II’s viewing angles were solid, not showing anywhere near the level of blooming a standard mini-LED TV would when watched way off-angle.

I decided to try one final black level test, using the scenes of space from Alien: Romulus. As expected, the C6’s black levels were inky and deep, delivering strong contrast against the stars.

Again though, the Bravia 7 II’s black levels were very good for a backlit TV, although there was some graying on occasion.

I did notice more blooming on the Bravia 7 II in this film however, most prominently whenever bright, white text appeared against black backgrounds. Still, the Bravia 7 II fared better with this movie than I thought.

Brightness

I'm about to get into brightness measurements, but there's a caveat. For my testing, I profile a Klein K-10A colorimeter and Jeti Spectral 15VA spectroradiometer for the best accuracy — and for some reason, I could not get the two’s Delta-E results to line up completely when preparing to measure the Bravia 7 II.

The same equipment worked fine with other TVs when I checked it, so it suggests there’s something odd with the 55-inch Bravia 7 II unit I tested, or perhaps with the way the equipment interacts with it.

Before my full review, we’re getting a different, 65-inch unit in, and I will measure it again — however, I'll provide the measurements I took so far for reference, because while the Delta-E wasn't perfect, it wasn't too far off, so they should be instructive. (And the LG C6 measurements have no issues.)

Brightness results for these two TVs are actually quite surprising. In Filmmaker Mode, the C6 registered 1,427 nits of peak HDR brightness in a 10% window, while the Bravia 7 II registered 1,218 nits peak HDR brightness in its equivalent Professional mode. I was surprised to see that the C6’s peak brightness was higher, as I thought an RGB mini-LED would hit much higher numbers than an OLED.

Looking at fullscreen HDR brightness (a 100% window), this is where the real difference lies. The C6 hit 247 nits in Filmmaker Mode, while the Bravia II registered 957 nits in Professional mode. This is a huge difference — this is the area where mini-LED in general trump OLEDs, though 957 nits is especially high, even

Seeing how this translates into real-world viewing, it shows mostly in bright scenes or scenes with a lot of white. Watching snow scenes from the Spears & Munsil demo footage, a shot of some horses in heavy snowfall is significantly brighter on the Bravia 7 II compared to the C6, giving it a more realistic look.

Another shot of a cliffside during the daytime again looks much brighter on the Bravia 7 II compared to the C6. As the cliff takes up a large portion of the image, the Bravia 7 II, which is brighter in measured areas like 50%, 75% and 100% compared to the C6, means the image looks brighter overall on the Bravia 7 II.

In scenes from Speed Racer, the C6’s peak brightness means white highlights look glossier, such as on the shell of the Mach 5, and colors have more punch in highlight areas, such as the red M on Speed’s helmet. But as the Bravia 7 II has higher fullscreen brightness, the picture does look brighter overall on the Bravia 7 II.

Finally, using a scene in the white-sanded desert from Lawrence of Arabia, this is one movie where the C6 and Bravia 7 II are much closer in brightness in real-world movies. As Lawrence rests on a rock, the sands behind him look punchier on the C6. His metallic watch had slightly more pop too, although this was minimal.

When the sands take up more of the screen, as a stranger approaches Lawrence and his guide, the C6 once again had higher perceived brightness for me.

In this instance, it seems to be related to both TVs color profiles. The Bravia 7 II’s warmer color tone, giving it the brown/orange tint you expect from this type of picture mode, blends more with the desert, whereas the C6’s red tone gives the desert a little more pop.

In terms of bright-room viewing, where you're contending with reflections, the Bravia 7 II is better overall, although the C6 does handle brighter scenes well, such as the ones from Lawrence of Arabia.

With darker movies, the Bravia 7 II is the better option, but it is still prone to mirror-like reflections (the Bravia 7 II doesn’t have the same anti-glare screen as the step-up Bravia 9 II). However, they weren’t as noticeable as the mirror-like reflections from the C6’s even glossier screen.

A step forward, but not quite there yet

Whenever I’ve compared standard mini-LED and OLED, OLED has often come out on top, thanks to its richer black tones and contrast, more refined image and deeper, bolder colors. RGB has been touted as the latest big rival to OLED, and the Bravia 7 II gives the C6 OLED a really good fight.

When smaller RGB TVs first joined the market this year, with the tech itself only arriving in 2025, I thought prices would be inflated. While the C6 is the better priced TV right now, with a 55-inch model costing $1,499 / £1,499 / AU$2,995, a Bravia 7 II isn’t priced too differently, with a 55-inch model costing $1,799 / £1,799 / AU$2,995. (Though LG TVs tend to get more aggressive discounts than Sony TVs, so LG might retain the edge over time.)

For now, the C6 is still the TV I recommend between these two, because it offers the crisper look, bolder colors and more dynamic contrast I’m looking for, as well as a cheaper price. But, there’s a lot to like about the Bravia 7 II and if this is a sign of what’s in store for RGB TVs as the tech develops, OLED will need to watch its back.

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Gaming is edging closer towards a divisive new normal, with Sony set to stop releasing physical game discs for PlayStation consoles in 2028, and Rockstar Games announcing that physical copies of Grand Theft Auto 6 will come with a download code in the box, rather than a disc.

Unsurprisingly, gamers attached to their physical media aren’t happy with either development, and the backlash online has been fierce, with PlayStation’s social media posts being met with furious demands for Sony to reverse course.

Sony’s plans, and the fact that Microsoft is seemingly set to follow suit, also mean GTA 6, one of the most anticipated games of all-time, likely won’t ever be available as a physical copy.

I spoke with Katarzyna Jakubiec, the chief business officer at G2A, an online marketplace that provides digital game keys. She told me that interest in PlayStation Store gift cards was already at record levels on the site before Sony’s and Rockstar's announcements, and GTA 6 pre-order openings have only further highlighted that trend.

G2A has become an increasingly popular way for players to save big on purchases as one of the few options for cheaper digital games. However, Jakubiec makes it clear that both physical and digital formats are pivotal in gaming.

"GTA 6 pre-orders have reinforced a trend we were already seeing rather than changing the market overnight," Jakubiec said. "During the pre-sale period, PlayStation gift card purchases on G2A reached record levels and continue to grow as anticipation for the launch builds, showing that many players are planning their purchases well ahead of release rather than waiting until launch day.

"While more players are embracing digital formats for the flexibility and convenience they offer, it's equally clear that physical copies continue to mean a great deal to many gamers, whether that's because of ownership, collection, or simply the experience of buying a physical game.

"We don't see this as an either-or conversation, and in an ideal world, people should have the choice to buy games in the format that suits them best. Physical and digital both have an important place within gaming, and different people will always have different preferences."

Unfortunately, that's not how Sony sees it; in fact, Sony's stance aligns with the idea that more consumers are purchasing more games digitally, as it makes the controversial decision to end game discs based on 'shifting trends in consumer preference', suggesting that physical game copies are becoming obsolete.

However, the reaction online and from key game industry figures like Dan Houser (Rockstar Games co-founder), who is no longer working at the game studio, indicate that gamers aren't, and frankly, never will be, done with physical game copies — and Jakubiec believes it's why figureheads within the industry need to adhere to players' different preferences.

"The reaction has been just as telling as the decision itself," she adds. "It highlights how passionate and diverse the gaming community is, and why major industry decisions need to consider the different ways people choose to buy, own, and experience their games.

She says that whether Sony decides to reconsider its plans is "ultimately for them to determine" — which seems unlikely, given that Sony has so far refused to reverse its decision, and shows no sign of changing its mind.

Jakubiec adds, "Whatever direction the industry takes, moments like this reinforce the need to listen to players and communicate those decisions clearly."