PlayStation State of Play June 2025: Everything Announced
Aside from a wealth of new looks at games we already knew about, the State of Play had quite a few nice surprises as well. Below, we've compiled a full list of every single trailer and announcement that was at the June 2025 State of Play, in the order they were shown.
The very first announcement of State of Play was a bombshell, the comeback of PlayStation's experimental music franchise Lumines. But the big twist is that it's being made by Enhance, the acclaimed studio behind the likes of Rez: Infinite and Tetris Effect.
Another major surprise of the State of Play was the long-awaited return of Capcom's Pragmata, a brand-new property that looks as charming as it does bizarre. The sci-fi shooter starts some kind of astronaut accompanied by a small girl, as they blow away a wealth of gruesome-looking aliens. Yeah, it's weird, but compelling.
Suda51, the eclectic creator behind No More Heroes and Shadows of the Damned, is back with a fittingly wacky new game, Romeo Is a Dead Man. Gruesome, bloody, action-packed, and kitchy — this already looks like it could have everything you'd ever want from a Suda game.
We got out first look at full gameplay for Silent Hill f, and it looks utterly horrifying in every way. The methodical exploration of Silent Hill seems to be alive and well here, along with facing the most hideous creatures you've ever seen. We also now have a release date of September 25.
Koji Igarashi's spiritual successor to Castlevania is finally getting a sequel, and it looks even more Castlevania-esque than the first game. Sporting a gorgeous cel-shaded art style, it looks like this sequel will sport multiple playable characters, a wide array of costume options, and plenty of different weapons to equip.
Bandai Namco debuted a new trailer for Digimon Story Time Stranger, the gorgeous-looking new RPG for the franchise. Taking place largely in Shibuya, Time Stranger, at least visually, looks like a massive step up from the past Digimon Story games. Also, we now know the game will launch on October 3, 2025.
The cult classic strategy game is finally coming back, with Final Fantasy Tactics: The Ivalice Chronicles. Interestingly, there will actually be two versions of the game in this release — a newly remastered version with full voiceovers, and the original game completely unchanged.
From the creator of Getting Over It, Baby Steps is sidesplittingly funny simulation games. As you might expect, the entire goal here is to literally just walk, taking one painful step after another.
Hirogami, as you might guess from the name, is a new action platformer inspired by the ancient art of Origami. It looks a bit like the PlayStation classic from Media Molecule, Tearaway, but with an action twist.
Konami shared a new trailer and a release date of July 31 for Ninja Gaiden Ragebound, the 2D action-packed revival of the classic platforming games.
With a demo out now, Cairn is a mountain-climbing simulation game where you play as a young girl named Aava, traveling up Mount Kami. It features realistic climbing mechanics where you have to adjust posture, find the right handholds, and more.
The master of remasters at Digital Eclipse are back at it again with a truly epic collection. This massive endeavor features 20 different versions of classic Mortal Kombat games, faithfully preserved and enhanced.
Konami debuted a new trailer for the remake of Metal Gear Solid 3: Snake Eater, this time largely focusing on the iconic boss fights of the game, and more gameplay. We even get a look at the update Ape Escape crossover.
Koei Tecmo's take on the Soulslike is coming back in a big way with Nioh 3. This sequel already looks exceptionally action-packed, and introduces two new dynamic fighting styles themes around 'Ninja' and 'Samurai.' Even better, a demo is available to play right now.
Yet another legendary franchise making a comeback, although in a little bit of a different way. The Thief games were one of the key franchises that created the Immersive Sim, and now it's heading into a brand new dimension with VR.
Tides of Tomorrow is a fascinating-looking story-based multiplayer game, where you have to 'uncover the choices' of your fellow players and deal with their consequences. All while it takes place on a colorful ocean planet.
While we didn't get a good look at the new content, PlayStation did announce that more Challenge Levels are on the way for Astro Bot. And yes, that'll include new bots to rescue, including one from Ghost of Yotei.
This free-to-play voyage RPG looks like a more arcade-y take on Sea of Thieves, fill with pirates and hijinks on the high sea. But, interestingly, it features turn-based combat and an island building section.
A new game from Giant Squid and the creators of Journey and Abzu, Sword of the Sea is a gorgeous exploration game filled with chill vibes. It's launching on August 19, and will be available for free through PlayStation Plus on day one.
One of the biggest surprises of the show was our first look at 007 First Light, the brand-new James Bond game from Hitman developer IO Interactive. This origin story follows a new Bond when he's an airman in the British army, chronicling his rise as the legendary 007.
Ghost of Yotei got a tiny new trailer that seems to hint at a wolf companion, while announcing a full-blown State of Play dedicated to the game coming in July.
Arc System Works, the studio behind beloved fighting games like Guilty Gear and Dragon Ball FighterZ, is bringing its talents to the Marvel Universe — and it already looks incredible. Marvel Tokon: Fighting Souls brings an entirely new style and aesthetic to these beloved characters, with four-vs-four battles that look as intense as you'd expect.
As overwhelming as that flood of announcements might be, don't forget the week is just getting started with even more events over the next few days, including the Summer Game Fest Showcase and Future Games Show. Make sure to check back at CGMagazine for news from all the big events.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
an hour ago
- Yahoo
Director Kevin Macdonald Recalls Working in 'Wasteful' Era of Hollywood, Sending ‘State of Play' Script to Brad Pitt: 'He Said, ‘I Hate It''
Brothers Kevin and Andrew Macdonald discussed their respective careers in an ever-shifting film industry Sunday at the Edinburgh International Film Festival's keynote session. Kevin Macdonald, an Oscar winner for his feature-length documentary One Day in September (1999), is also known for his fiction work, including The Last King of Scotland (2006) and State of Play (2009), as well as Touching the Void (2003) and How I Live Now (2013). Andrew Macdonald, meanwhile, is a producer best known for his collaborations with Danny Boyle and Alex Garland on the likes of Trainspotting (1996), The Beach (2000), Ex Machina (2014) and the 28 Days Later franchise. More from The Hollywood Reporter Netflix Unveils First Look at Louis Partridge, James Norton, Emily Fairn and Anthony Boyle in 'House of Guinness,' Sets September Launch Date Edgar Wright, Guy Pearce, Gale Anne Hurd, Stephen Elliott Pay Tribute to "Truly Iconic" Terence Stamp: "The Most Mesmerizing Eyes" Thelma Schoonmaker on Martin Scorsese's "Remarkable" Bond With Michael Powell and Using AI to Help Publish Her Late Husband's Diaries The session, hosted by Edinburgh TV Festival boss Rowan Woods, began with a blast from the past: the brothers' short film that saw them as 20-something-year-olds interview the creatives — including Robbie Coltrane, Sam Fuller and Michael Winner — at the 1992 Edinburgh Film Festival. The pair were pressing industry names on how to get Shallow Grave made. At the end, Sean Connery stars over the phone; Kevin had managed to get hold of the Scottish actor in his trailer while he shot 1993's Rising Sun in L.A. The conversation spanned a myriad of topics, namely the projects they are most proud of and the inner workings of getting some of the 21st century's biggest films over the line. Kevin Macdonald spoke candidly about working with Hollywood A-listers for the first time on political thriller State of Play. After months of rewriting the script with Tony Gilroy (and spending a lot of money), '[We] gave it to Brad Pitt,' Macdonald explained. 'And he said, 'I hate it.'' 'That was just the beginning of a long, very Hollywood [experience],' he laughed. 'A certain kind of wasteful Hollywood filmmaking, where they were trying to make intelligent and good films,' he added, referencing how an entire soundstage was knocked through in L.A. instead of shooting on location in Washington D.C., because Pitt wanted to stay near his family. But Pitt's role eventually went to Russell Crowe, anyway. Macdonald said about feeling out of his depth filming with huge stars: 'I don't think I'm saying anything out of turn to say that Russell Crowe is quite a difficult man and he would intimidate the studio to such a degree that they wouldn't actually want to come to set.' 'I would say to the studio, 'Oh my god, this is a nightmare,'' he laughed again, ''I can't control this, man, we're spending all this money,' and they're saying, 'You're doing great.'' He also revealed he had to push for Forest Whitaker to be cast in The Last King of Scotland: 'He came in so keen to do this,' he recalled. 'He felt compelled to do this part…. I saw this very gentle, spiritual man, but there's something dark, and that was, I think, what he wanted to express. I remember going to Fox Searchlight. They'd said, 'Forest is totally wrong. He's so gentle and sweet. He can't be right.'' He continued: 'It became a bit of a battle. In the end, they relented. It's one of those great things in life when your actor goes on to win an Oscar, and Searchlight have to admit that you were right. That doesn't happen very often.' His brother Andrew managed to sneak into the Oscars' Vanity Fair party that year, pretending to be Kevin, the siblings also revealed, where he gave an interview as Kevin to British broadcaster Sky News. When asked what kind of projects he finds are worth pursuing in the current climate, Andrew simply gave thanks for finding Garland: 'I've been very fortunate in the last 10 years, to work with this guy who can come up with a script, literally, in 24 hours. So we spent a lot of time producing his films, what he wants to do, and out of that has come a very good relationship with A24, and that's really the majority of what we've done. Every so often, something comes up that fits in.' On the difficulty of filming 28 Years Later and 28 Years Later: The Bone Temple back to back, Andrew said: 'It wasn't hard, because there's some key actors that were in first [part]. That's why we did it back-to-back. I think the director of the second film, she probably did the hardest thing — because she had to take some elements that were already in place, that weren't necessarily her […] choice,' he said about Nia DaCosta, whose installment is set for release in January 2026. The pair fielded a series of questions from the audience toward the end of the session, where Kevin expressed he thought a lot of people in the industry are 'overly despondent' about the impact of AI. The filmmaker also said he would love to be making Richard Linklater's Merrily We Roll Along, filmed across 20 years with Paul Mescal and Ben Platt. 'What a wonderful idea,' he said. 'That would be so much fun to do.' Edinburgh International Film Festival 2025 runs Aug. 14-20. Best of The Hollywood Reporter 10 Wrestlers Turned Actors, Ranked The 25 Best U.S. Film Schools in 2025 The 40 Greatest Needle Drops in Film History Solve the daily Crossword
Yahoo
an hour ago
- Yahoo
Renée Zellweger Unveils Her Directorial Debut in First Interview About Hand-Drawn Animation ‘They': 'A Passion Project — That's What This Is'
In her first interview as a filmmaker, Renée Zellweger is as gracious as ever. 'I don't think that directing was a personal ambition in and of itself,' the Oscar-winning actress tells The Hollywood Reporter. 'I always thought that if there was some organic calling to tell a story and I felt that it was the right fit, then I'd probably love to do it and give it a shot.' Only if it felt necessary, she adds: 'Not just for the sake of having the experience, you know?' More from The Hollywood Reporter Edgar Wright, Guy Pearce, Gale Anne Hurd, Stephen Elliott Pay Tribute to "Truly Iconic" Terence Stamp: "The Most Mesmerizing Eyes" Thelma Schoonmaker on Martin Scorsese's "Remarkable" Bond With Michael Powell and Using AI to Help Publish Her Late Husband's Diaries Director Kevin Macdonald Recalls Working in "Wasteful" Era of Hollywood, Sending 'State of Play' Script to Brad Pitt: "He Said, 'I Hate It'" Texas-born Zellweger has, of course, been a star of the screen for years. She has captivated us in the likes of Jerry Maguire (1996), Chicago (2002) and more recently, the film that gave her a hard-earned second Academy Award: the Judy Garland biopic Judy, in 2021. For many audiences, however, she'll be best known as the charmingly imperfect Bridget Jones, a character she returned to earlier this year in the global box office hit Mad About the Boy. What she hasn't yet publicly spoken about is the project she worked on in between those movies. In her trailer on the Bridget Jones set, she says, and in between press tours, Zellweger and her production company Big Picture Co. were working with a group of talented animators to create a nine-minute short — Zellweger's directorial debut — titled They. In the hand-drawn 2D line animation They, which had its world premiere at Edinburgh International Film Festival on Aug. 16, a town is overrun by grumbling citizens caught in clouds of complaint. That is, until a hopeful hero and his trusty dog hatch a plan to encourage a return to better days. When things appear to catastrophically backfire, a surprising twist unites the masses in solidarity. They is a reaction to the wealth of toxicity polluting the world. Zellweger pokes fun at online conspiracy theories, a sea of hate on social media, and all-round terrible team morale among us humans at the moment. 'It's just so sad,' Zellweger tells THR, 'the decline of social discourse, how it seems that we all have these opinions about one another. Conversation seems to have left the building.' The short is also a surprisingly intimate project, sprinkled with anecdotes and gentle nods to Zellweger's personal life and the wider team's, too. A dedication at the end to Dylan, Ellie, Chester, Betty and Grady refers to the late pets of Zellweger and her producer Tora Young. In fact, animation director Paul Smith drew everyone's pets next to their names for the brilliantly crafted end credits. He worked under his production company banner Ubik with art directors Nick Loose and Ste Dalton, while Adam Minkoff served as composer and Michael Bayliss as animation consultant. The final product is one brimming with joy. 'People say 'passion project,' and that's genuinely what this is reached in,' says Zellweger. Below, she talks for the first time about They. She reveals when the idea for the film first came to her, her long-running love of animation as an art form, and what's in store next now she's had a spin in the director's chair: 'There are always ideas brewing. It's just a matter of timing and things coming together.' *** I have so many questions for you, and only a little bit of your time — so if you're happy, I'll dive right in. Of course, of course. It's the first time I've talked about it with anybody outside the project… So be patient with me! Don't worry if you need some time to think about your answers! But let's start at the beginning. How did this journey start and how long had you wanted to direct? Well, it was kind of a fluke. I don't think that directing was a personal ambition in and of itself. I always thought that if there was some organic calling to tell a story and I felt that it was the right fit then I'd probably love to do it and give it a shot. [Only] if it felt necessary — not just for the sake of having the experience, you know? This was just a conversation with a friend. She was unwell, and we were sat on her bed watching the afternoon news because she had a crush on the local newscaster, and we knew that she wanted to watch that every afternoon. We turned it on and it was so depressing. Her carer Jerome and I started talking about toxicity and the divisiveness and how polarized we've become as a society. This is 2018, 2019. We were thinking it's just so sad, the decline of social discourse, how it seems that we all have these opinions about one another. Conversation seems to have left the building. He said, 'Yeah, it'd be great if we felt like we were being attacked from space or something, then we'd need each other, wouldn't we?' And I laughed, and I thought, 'Oh yeah, Armageddon or Independence Day!' I started to riff on it, the idea of it. I thought, 'Oh gosh, yeah.' Could you imagine the physical manifestation of this pollution that we're creating every day? These negative messages that are bombarded [at us], that seem to be intentionally targeted, designed to make us angry. Wouldn't that be something? I told Jerome, 'I'm gonna go home and write that.' I just wanted to for an exercise. So I went and I wrote it. And then I connected with an artist friend of mine, an animator, and we started talking about it from my kitchen. I sent him a few rough sketches of what I imagined this little non-human person would look like, and it went from there. A couple of years later — it would have been just after Judy — I was speaking with my friend Tora Young. She's a producer. She was early days on the first Bridget Jones. I've known her for a really long time, and I'd forgotten that she was one of the first on the team at [U.K. studio] The Imaginarium when it was founded. And I forgot about her love of animation. We started talking about it. I'd been tinkering from my kitchen during COVID and just seeing where this would go. Initially, I was thinking it was going to be a minute or two and that it would be a muted black and white [film]. She introduced me to Paul Smith, who's better known as Erwin Saunders on his YouTube channel. [Laughs.] And it went from there. It just started to grow and the story evolved as we worked on it, because there were certain things that… I don't know how to describe it, but there were certain things that we knew were highly unlikely. So we wanted to make references to that. It's amazing how many years this film has been in the making. Well, you know, it was just for fun. I wanted to do it because I told Jerome that I was going to and I wanted to surprise him. It's taken a minute. And then it was COVID, so it was a little project that could from the living room. People say 'passion project,' and that's genuinely what this is reached in. It's just a love of the art form and how you can use it to engage in a conversation without being offensive. It really is so good. The music, the end credits poking fun at what comes up on our screens these days. And there is optimism in your story — is that something you wanted to convey? Oh, yeah, absolutely. But without being twee. [Laughs.] Because you always hope, right? You hope. What I found really interesting yesterday was that I guess another couple of projects [premiering at Edinburgh] began during COVID and it's just because animation takes a while. Obviously, it's really involved in terms of the hours it takes to create [and] the work that you put into it. They is hand-drawn. It's hand-painted, hand-drawn 2D line animation, which I've been a fan of forever. I used to seek out animation festivals when I was at university. I lived in a dormitory that was on top of an independent movie theater, and they would host these festivals and these shorts would come through town, and I'd go back again and again. I just love it. I love the messaging. I love the capacity to elicit such an emotional response from something so tiny and quick, and that seems so simple, but it's actually really profound. It takes so much work and skill… and now I'm going off on my love for this art form, and I've forgotten your question. [Laughs.] You're absolutely right, it is profound. Edinburgh Film Festival director Paul Ridd said this was so confident and so different from what they were expecting of you. Do you think people wouldn't assume Renée Zellweger would have this passion for animation? I really don't know. I guess I don't spend a lot of time wondering what people would think. [Laughs.] Why is it titled ? It's that clichéd reference when you want to end a conversation, or in substantiating your perspective: 'You know how they are,' 'You know what they say,' 'You know what they do,' 'If only they didn't…' That's the reference. But obviously, in the messaging, we're all they. We're all contributing to this, this feeling, this experience and this moment that we're in right now, intentionally or not, just with our engagement on our phones and our responses to those messages. Did it feel natural to sit in the director's chair? Would you want to do it again? Oh, of course. I loved it. I felt really lucky working with extraordinarily talented people. I didn't even think about it really, in terms of whether or not it felt comfortable. We were just doing it. And there were certain things that, I guess at some points [that] surprised me from the experience of being on set. [I've been] a storyteller for 30 years, so there was an instinct to know that a shot was missing or what was necessary or how it should be set up. But there were also things that I couldn't know because I haven't studied the visual medium and the art form. [I didn't know] why a particular angle would be more effective, and I learned so much from Paul and Nick and Ste, who were the lead animators on this and Michael Bayliss, who was an advisor. Do you already have a nugget of what you'd like to do next? Yeah, I do. Yeah. There are always ideas brewing. It's just a matter of timing, things coming together. Is that in the animation world, or is that live-action? Or both? Both. That's very exciting. That's a nice thing to say. Thank you. How was getting to watch your film as a director instead of an actor? It was really special. I don't think that I really took any time to consider it outside of the co-operative effort that it was. It's very similar in that respect, because every film feels like it's this family collab, you know? This was probably more intimate, because it was over Zooms and it was independently done. We did it because we loved it, and it was just joy. It was just this little side thing, the little project that could. We were just seeing if we could, basically. If it would work and what it would ultimately amount to in the end. It's just a shared love of the art form and wanting to dive in and explore an opportunity to play with those influences. The reference to things that we all grew up loving — those sequences for the [Pink Panther creator] Blake Edwards films and Saul Bass's graphics. The music of the era, all of that was joyful, to go back to an increasingly rare art form with the digitization of everything now. To have something that's sort of homegrown. Is the plan to take it to more festivals? Yeah, we'll see. Again, it was that thing where we sort of [made this] from the set of Bridget Jones, in the trailer of Mad About the Boy and in between press tours, all of that. [Laughs.] And it felt really lovely to be in Edinburgh because it's a U.K.-based production. So it felt like the right place to debut it. Edinburgh International Film Festival 2025 runs Aug. 14-20. Best of The Hollywood Reporter The 25 Best U.S. Film Schools in 2025 The 40 Greatest Needle Drops in Film History The 40 Best Films About the Immigrant Experience Solve the daily Crossword
Yahoo
3 hours ago
- Yahoo
Future Games Show returns to Gamescom 2025 with more than 50 game reveals — here's how to watch every trailer and demo
When you buy through links on our articles, Future and its syndication partners may earn a commission. The annual Future Games Show highlights the next wave of games to look forward to, and the next iteration kicks off on Wednesday, August 20, as part of Gamescom 2025. This year's edition will be hosted by David Hayter (Solid Snake in Metal Gear Solid) and Maggie Robertson, known for playing Lady Dimitrescu in Resident Evil Village. We're set to see trailers and 'stealth demo drops' for over 50 games from AAA publishers and indie studios alike, including a first look at gameplay from Resident Evil Requiem. How to watch Future Games Show at Gamescom 2025 You'll be able to watch the stream on Twitch, YouTube, Steam, X, Facebook, TikTok, GamesRadar, PC Gamer and more starting on Wednesday, August 20 at 2 p.m. ET, 11 a.m. PT, and 7 p.m. BST. What to expect We've already mentioned the more than 50 games, including titles from Capcom, Bandai Namco, EA and NACON. Capcom is getting some serious shine with developer spotlights for Resident Evil Requiem and interviews with the devs behind PRAGMATA. For variety, there will be closer looks at skate., the long-awaited skateboarding title from EA and Full Circle, as well as Windstorm: The Legend of Khiimori set in Mongolia, among other major and indie titles. Plus, demos will be available as soon as the show is over. Set a reminder, head back here, and watch along with us! Two other Future Game Shows Additionally, there will be two other broadcasts following the main showcase. Directly after the Future Games Show will be FGS Live with more new trailers, premieres and demos, including NORSE: Oath of Blood and Call of the Elder Gods. On Sunday, August 24, at 11 a.m. PT, 2 p.m. ET, 7 p.m. BST, the FGS Best of Gamescom will round up the week, highlighting the 'best of' from the Gamescom show floor, interviews, and demos from AAA games. Follow Tom's Guide on Google News to get our up-to-date news, how-tos, and reviews in your feeds. Make sure to click the Follow button. More from Tom's Guide I review gaming handhelds for a living — and these are the 3 I would buy with my own money This gaming PC feels like an Xbox 360 with an RTX 5090 inside - here's why From Expedition 33 and Cyberpunk 2077 to F1 22 — these are the 5 PS5 and Switch games I always play to test gaming headsets
