
Sony unveils Ghost of Yotei PS5 limited edition bundles inspired by Japanese art
Sony revealed the new bundles during its State of Play livestream. The designs draw from the fictional Ezo region depicted in Ghost of Yotei, created by the game's developer, Sucker Punch. The first design, called the Gold Limited Edition, takes inspiration from kintsugi, a Japanese art technique that repairs broken pottery with gold lacquer. This design highlights gold accents on the console and controller.
The second design, called the Black Limited Edition, uses black tones influenced by sumi-e, a traditional style of Japanese ink painting. Both controllers in the bundles carry a silhouette of Atsu, a character from the game, placed on the touchpad and rendered in gold and black to match the respective bundles.
Sony said the Gold Edition bundle will be available worldwide, while the Black Edition will be sold exclusively through direct.playstation.com in regions where this is supported. Each bundle includes a disc edition PS5 console, a DualSense wireless controller, and a digital copy of Ghost of Yotei Standard Edition with pre-order benefits.
For PS5 owners who already have the slim or Pro versions, Sony will offer limited-edition console covers that match these designs. These covers and the limited-edition DualSense controllers will also be available for separate purchase through online retailers, but only in limited quantities.
The bundles and accessories will launch on October 2, which will coincide with the exclusive PS5 release of Ghost of Yotei. Sony has stated that it will offer pre-order information at a later date.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Time of India
2 hours ago
- Time of India
‘Samarth' to streamline all higher edu processes
Lucknow: To digitise higher education and make it transparent, efficient and technology-driven, state govt will implement 'Samarth' portal across all universities and colleges in academic year 2025-26. Samarth platform simplifies faculty promotions, admissions, salary disbursement, examination and research grants. As per higher education department's roadmap, by the end of 2025, all private ERP systems in institutions will be phased out and Samarth will be the exclusive system in use, thus reducing administrative burden and streamlining workflow in higher education institutions. tnn All govt universities and affiliated colleges in UP have registered on Samarth and many are using it for salary processing, expense management, leave tracking, admissions and exams, while online student registrations are underway. Under career advancement scheme, teachers will find it easier to apply for promotions while selection process will be transparent and trackable. State govt has introduced centralised admission system from Jul 2025 and all admissions will take place through a unified portal. The portal's trial phase is running successfully. Besides, govt is also working on a separate online portal for conducting seminars, research projects, awards and academic grants to make it easier and more transparent for academicians and researchers. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Gentle Japanese hair growth method for men and women's scalp Hair's Rich Learn More Undo Higher education minister Yogendra Upadhyay said govt was committed not only to realising vision of Digital India but also aimed to make UP a leading state in quality and transparency of higher education. Lucknow: To digitise higher education and make it transparent, efficient and technology-driven, state govt will implement 'Samarth' portal across all universities and colleges in academic year 2025-26. Samarth platform simplifies faculty promotions, admissions, salary disbursement, examination and research grants. As per higher education department's roadmap, by the end of 2025, all private ERP systems in institutions will be phased out and Samarth will be the exclusive system in use, thus reducing administrative burden and streamlining workflow in higher education institutions. tnn All govt universities and affiliated colleges in UP have registered on Samarth and many are using it for salary processing, expense management, leave tracking, admissions and exams, while online student registrations are underway. Under career advancement scheme, teachers will find it easier to apply for promotions while selection process will be transparent and trackable. State govt has introduced centralised admission system from Jul 2025 and all admissions will take place through a unified portal. The portal's trial phase is running successfully. Besides, govt is also working on a separate online portal for conducting seminars, research projects, awards and academic grants to make it easier and more transparent for academicians and researchers. Higher education minister Yogendra Upadhyay said govt was committed not only to realising vision of Digital India but also aimed to make UP a leading state in quality and transparency of higher education.


Time of India
3 hours ago
- Time of India
Osaka Ojo Gang wins World of Street Woman Fighter Season 3 over AG Squad; fans cry nepotism as TWICE Momo's sister takes the crown
On July 22, 2025, Osaka Ojo Gang took home the championship title on World of Street Woman Fighter (WSWF) Season 3, beating out fierce competitors AG Squad and Motiv in a live finale aired by Mnet. Exuding stage-commanding energy, the Japanese crew captivated the judges and studio audience alike with their powerful final performance. The crew's artistry and charisma earned widespread praise as many highlighted how far they had come over the course of the season. For many viewers, their finale routine sealed the deal, but online, the debate was just beginning, with many alleging that AJ Squad was the real winner. Fans rally behind AG Squad The moment Osaka Ojo Gang was announced as the winner, social media users were left stunned, as many felt that AG Squad, who had consistently delivered technically flawless and emotionally gripping performances, had clearly earned the top spot. One fan tweeted, 'Ag squad really carried the whole season just to end up like Jam Republic…' Y'all not tired of snubbing the real winners?" ag squad really carried the whole season just to end up like jam republic… y'all not tired of snubbing the real winners 😭 "Honestly, I didn't need the AG squad to win 1st place because their superior performances and sheer work ethic during the show speak for themselves. They're a winner in my eyes, and that's all that matters," another wrote. honestly I didn't need ag squad to win 1st place because their superior performances and sheer work ethic during the show speak for themselves, they're a winner in my eyes and that's all that matters! 🫶🫶 #WSWF #WSWF3 Some fans even speculated that the decision leaned into Mnet's push for global appeal and that Osaka Ojo Gang's international popularity might've tipped the scales. The sentiment wasn't universal, but it was loud and persistent. Why are fans crying nepotism? Adding to the controversy, some netizens are now crying nepotism, pointing to the fact that TWICE member Momo's older sister, Hana Hirai, is part of the Osaka Ojo Gang. The connection drew even more attention when several TWICE members, including Momo, Jihyo, Jeongyeon, Nayeon, and Sana, showed up at the WSWF finale in support of the crew. While their presence lit up the crowd and added star power to the event, some fans are questioning whether the group's K-pop ties may have influenced the outcome. ' "Wdym a crew who wins almost all missions got lost to a crew who never wins even one? Oh, I hate nepotism. If it's SWF 2, I get it since Bebe wins on some missions too, but this? Meh," said one user. wdym a crew who wins almost all missions got lost to a crew who never win even one 🙂↔️ oh i hate nepotism. if swf 2 i get it since bebe wins on some missions too, but this? meh TWICE members and Daehwi spotted on the finale of WSWF. #WSWF AG Squad vs. Osaka Ojo Gang: two very different journeys AG Squad had one of the strongest track records this season. They came out on top in several missions, including the demanding Mega Crew challenge, and consistently impressed judges with clean execution and detailed choreography. Their elimination battle earlier in the show showcased just how fierce and prepared they were, making it all the more shocking when they didn't walk away with the title. Osaka Ojo Gang, on the other hand, gained momentum later in the season. Their Dance Film Mission performance—which racked up over 2.5 million views and 330,000 likes—helped cement their status as crowd pullers. Led by Kyoka and Ibuki, their finale routine leaned more into stage presence and emotional impact than technical perfection. That choice clearly worked for the judges, who emphasised storytelling and transformation in their final evaluations. To stay updated on the stories that are going viral, follow Indiatimes Trending.
&w=3840&q=100)

Business Standard
6 hours ago
- Business Standard
Zee Entertainment Q1 results: Net profit rises 21.7% to ₹143.7 crore
Zee Entertainment Enterprises (ZEEL) reported a consolidated net profit increase of 21.7 per cent to Rs 143.7 crore in the April-June quarter, compared to the same quarter last year. This growth was primarily due to the absence of restructuring costs following the failure of the Zee-Sony merger. In Q1FY25, ZEEL had incurred restructuring costs of Rs 28.6 crore after the Zee-Sony merger did not go through. The net profit in Q1FY26 also includes gains from the company's portfolio rationalisation initiative and the treatment of Margo Networks as a discontinued operation. Margo Networks had incurred a loss of Rs 7.6 crore in Q1FY25. On a sequential basis, the company's net profit declined by 23.7 per cent in the April-June quarter. The Mumbai-based broadcaster's revenue from operations decreased by 14.3 per cent to Rs 1,824.8 crore in Q1FY26, on a year-on-year (YoY) basis. ZEEL's other income rose by 31.6 per cent to Rs 25 crore for the quarter ended June 30, compared with the same quarter last year. The company's advertising revenue fell by 17 per cent to Rs 758.5 crore YoY in the April-June quarter. This decline was attributed to an extended sports calendar and a slowdown in FMCG (fast-moving consumer goods) spending, as per its investor presentation. 'The increase in digital subscription revenue was offset by a decline in linear subscription revenue due to a fall in PayTV subscribers. Other sales and services (down 64 per cent to Rs 84.6 crore YoY) declined due to lower theatrical and syndication revenue,' the company stated in its presentation. Its profit before interest, depreciation, and tax (PBIDT) decreased by 8.8 per cent to Rs 264 crore for the quarter ended June 30, compared with the same quarter last year. Meanwhile, the total revenue of ZEE5, the company's streaming platform, increased by 30 per cent to Rs 290 crore in the April-June quarter, on a YoY basis. ZEE5 also saw a Rs 111.9 crore reduction in its EBITDA (earnings before interest, taxes, depreciation, and amortisation) in Q1FY26, compared with the same period last year. During this quarter, the platform released 17 shows and movies, including five original productions. 'Accelerating growth, profitability, and cash generation continue to remain our priority, and this will further be driven by the new initiatives we are working on," said Mukund Galgali, Deputy Chief Executive Officer (CEO) and Chief Financial Officer (CFO) of ZEEL, in the company's investor call. He added, 'Within the music business, our profitability continues to remain fairly healthy, and we are further diversifying our catalogue into other language markets.' 'Over the last couple of quarters, the team has put in significant efforts to enhance our content offerings in every market," said Punit Goenka, CEO of ZEEL, during the investor call. "I am pleased to share that we are beginning to witness positive momentum in this direction, with our linear viewership share touching 16.8 per cent in Q1, further fortifying our position as a strong player in the industry. In fact, during the month of June itself, we clocked a viewership share of 17.8 per cent, which is nearly a two-year high.'