Sony's recent announcement that it will stop selling physical PlayStation games globally beginning in 2028 has prompted discussion among game journalists about the evolving nature of game ownership, particularly in light of the PC platform's long-standing digital-centric landscape.
The move, which will encompass both first-party and third-party titles, mirrors a trend that has been dominant on PC for years, leading to questions about whether console players are simply catching up to a digital future already embraced by PC gamers, or if this shift highlights broader concerns about control over digital libraries.
Julian, reflecting on recent experiences with digital content, noted a growing unease over ceding control to companies whose interests can change. He cited Amazon's decision to render older Kindle models incapable of downloading books from its library, forcing users to upgrade to keep their purchased content accessible. Furthermore, Julian pointed to the ephemeral nature of online work, with past writing contributions to publications like Kotaku UK and GAMINGbible becoming inaccessible due to site shutdowns or content purges for SEO purposes. This personal history underscores a broader concern about digital permanence and the fragility of archived digital works.
While acknowledging the convenience of digital libraries and cloud gaming, especially for those with limited living space, Julian expressed a renewed need to re-evaluate this convenience in light of companies collapsing, servers shutting down, or altering terms of service. He specifically highlighted the potential vulnerability of large game collections built on platforms like Steam, should Valve face financial or political pressure. Although Valve currently allows access to previously purchased games even after they are delisted, such as Battlestar Galactica: Deadlock, the inability to acquire new copies legally without a storefront presents a similar limitation. The concurrent closure of the PlayStation 3 and Vita stores, which will render many games unobtainable, further emphasizes these concerns.
Mark described his own evolving relationship with physical media. Transitioning from a console background with a mix of disc and digital purchases to a PC-centric gaming habit, he found himself largely adopting digital purchases. He still retains a fondness for physical media, using his PlayStation 5 primarily for Blu-ray playback when not gaming, and occasionally playing older PC titles from disc that he has not repurchased digitally. The potential obsolescence of physical media formats, akin to how film formats have evolved, is a concern, likening older game discs to heirlooms that require specific hardware to access.
Edwin expressed a desire for the final demise of physical discs to be coupled with the unimpeded free circulation and archiving of videogames online. He lamented the presence of arbitrary delistings, terms of service changes, and DRM, which hinder access. The idea of officially sanctioned methods for reselling or gifting purchased game licenses was also mentioned, albeit with a touch of irony. Edwin shared a sentimental attachment to physical media, recalling his collection of PSP and DS cartridges, many of which were review copies serving as a record of his career. He also fondly recalled his youth, when downloading an entire game felt like science fiction and the PS1 trade-in market was a key economic lesson.
While acknowledging the environmental benefits of digital distribution over manufacturing and shipping physical discs, and the theoretical reduction in middlemen, Edwin pointed out the persistent barriers of payment networks and monopolistic stores. The power digital platforms hold over cultural artifacts, such as the removal of P.T., was cited as an example of how these entities can control access. Though physical media offers some protection against such issues, Edwin suggested that advocating for legal and structural measures to safeguard art against commercial interests is more productive than lamenting the loss of disc-based purchases. The shift towards digital-only console releases, he concluded, underscores the need to better report on game preservation and sharing spaces that exist outside of major digital storefronts.