Three iconic cities, three epic stories, one definitive collection. Grand Theft Auto: The Trilogy – The Definitive Edition includes the genre-defining Grand Theft Auto III, Grand Theft Auto: Vice City, and Grand Theft Auto: San Andreas together — each one enhanced for a new generation and available together for PlayStation 5 and PlayStation 4.

Grand Theft Auto: The Trilogy – The Definitive Edition will be available digitally on November 11 through the PlayStation Store with a physical release for PlayStation 4 on December 7.

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Experience the games that started it all — introducing unprecedented freedom and immersion through three living, breathing worlds filled with hilarious action, rich, cinematic storytelling, classic characters, and unforgettable music. 

Bringing the classic worlds of Liberty City, Vice City, and San Andreas to modern PlayStation platforms, Grand Theft Auto: The Trilogy – The Definitive Edition debuts new GTAV-inspired modern controls, plus across-the-board visual enhancements such as resolution upgrades and improved visual fidelity across the world, and much more to faithfully tune and improve upon all three games, while also maintaining their distinct original aesthetic.

Grand Theft Auto: The Trilogy – The Definitive Edition introduces wide-ranging modern control upgrades, including improvements to targeting and lock-on aiming, updated Weapon and Radio Station Wheels, updated mini-maps with enhanced navigation allowing players to set waypoints to destinations, updated Trophies, and more. 

Additional enhancements across all three titles include a completely rebuilt lighting system; improved shadows, weather, and reflections; upgraded character and vehicle models; along with new higher resolution textures across buildings, weapons, roads, interiors, and more. Grand Theft Auto: The Trilogy – The Definitive Edition also features a range of environmental upgrades including all new foliage, smoother surfaces, and increased draw distances to provide a new level of depth and clarity throughout the world.

Originally developed by Rockstar Games, Grand Theft Auto: The Trilogy – The Definitive Edition has been adapted to modern platforms by Grove Street Games using Unreal Engine to make these classics more vibrant and more immersive than ever, celebrating the legacy of the series that redefined interactive entertainment and helped propel video games to the center of culture. Stay tuned to the Rockstar Newswire for more and

Last week, we celebrated PlayStation VR’s 5th anniversary by asking you to share moments from your favorite VR games using #PSshare #PSBlog. From aquatic adventures to moody mysteries, here are this week’s highlights: 

Sefwick shares a twirling ribbon dance from Bound’s VR mode.

akr_gamer shares a moment under the sea in Jupiter & Mars.

Draikin holds tightly to a black cat in Déraciné.

ke_23 stops for a Moogle selfie in Monster of the Deep: Final Fantasy XV.

scottoka1 shares an evil chicken stealing pups to replace its eyes in Trover Saves The Universe.

HarleyNitta7 shares the Dragonborn staring up at the moon in Elder Scrolls V: Skyrim VR.

Search #PSshare #PSBlog on Twitter or Instagram to see more entries to this week’s theme. Want to be featured in the next Share of the Week? 

THEME: Scary
SUBMIT BY: Wednesday 9 AM PT on October 27

Halloween is almost here! Next week we’re ready to be spooked. Share scary moments from the game of your choice using #PSshare #PSBlog for a chance to be featured. 

Hello again! Just a quick note to tell you that State of Play returns next Wednesday, October 27 at 2:00pm PT / 10:00pm BST. As usual, you can watch our broadcast live on Twitch and YouTube. Hooray!

This time out, we’ll be focusing on announcements and updates for upcoming third-party releases headed to PS5 and PS4. 

The show is looking to be ~20 minutes or so, and will share new looks at previously announced games, plus a few reveals from our partners around the world. 

See you Wednesday!

Regarding Co-streaming and Video-On-Demand (VOD)

Please note that this broadcast may include copyrighted content (e.g. licensed music) that PlayStation does not control. We welcome and celebrate our amazing co-streamers and creators, but licensing agreements outside our control could interfere with co-streams or VOD archives of this broadcast. If you’re planning to save this broadcast as a VOD to create recap videos, or to repost clips or segments from the show, we advise omitting any copyrighted music.

Welcome to the crew, PlayStation! At long last, we have a release date. On December 14, Among Us will be launching on PlayStation 4 and PlayStation 5. Traverse through space and attempt to hold your spaceship together alongside your other crewmates, but beware – there could be Impostors on board. Or maybe… you’re the Impostor?! There’s only one way to find out.

The PlayStation release of Among Us comes with all of the previous content, a slew of new updates, and an exclusive Ratchet & Clank cosmetic in the future. Let’s talk about it!

Find the liars – or be one

Your crew’s success depends on your social deduction abilities. Think you know who the Impostors are? Can you find them before they murder you? Or maybe you’ll be wrongly ejected. Out in space no one can save you – good luck finding out the truth.

Crossplay

Have friends on other devices? No worries. The PlayStation version of Among Us allows for crossplay so everyone can play together. 4-15 player lobbies are supported with online multiplayer.

Anyways, that’s all the info I have to give you for now. If you’ve read all the way through, thanks. More seriously the entire team at Innersloth want to thank everyone for all of the support – whether you picked up the game ages ago or are just thinking of playing it now, we’re happy to have you! It’s already been a year since we were just a team of three and our game randomly got big, but we couldn’t be more grateful. 

See you on December 14.

Welcome to this new blog about our forthcoming game—House of Ashes! I’m Barney Pratt, audio director here at Supermassive Games. Today I am going to explain our cinematic approach to the music for this game and the series more widely – the scares, the shocks, and how we developed a signature motif that can span space and time.

Each of the Dark Pictures Anthology games has a completely different narrative, and as such has a completely different soundtrack. Whether it is character themes, location themes, subconscious clue giving or deliberate misdirection, the music is the strongest audio element to follow and drive the wider narrative arcs as the story develops.

We use a hybrid system of film and game music techniques to fully immerse the player in the cinematic experience of the Dark Pictures. Each moment of each level has bespoke music cues to precisely frame-match the action, suspense, intrigue, fear or dread not only for that precise event, but also for each related event over the wider story arc. We need to deliver a seamless cinematic musical journey through all of the choices, paths, dilemmas and key turning points of the story.

The style of music originates from the story. For Man of Medan we looked at “youth”, the swaying waves of the sea which dictated the time signature and the fierce, violent brutality of events to come. For Little Hope we took a historical approach, researching the instruments of 1692 New England. These lonely solo instruments played as a lament to the dark times of the Salem witch trials and it was a huge challenge to deliver the cinematic mechanics of a horror game with such a thin and constrained score. The theme for the main character in Little Hope was no exception. Jason Graves, the composer for the series, composed a simple six note motif on an aged piano which in itself offered such a deep explanation of the lead character’s part in the story and clues to the outcome (no spoilers!).

Witchcraft by Jason Graves

First early development Deathloop kick implementation

Here to help explore Colt’s calamitous kick with me is Jérôme Braune, game systems designer.

Braune: In these comparison images, you can see that in an early version of the kick the foot orientation was different and the leg was displayed more in the center of the screen. To free some space and prevent visual noise around the crosshair, the leg position and foot orientation was later moved further to the right. 

Foudral: When we were finally happy with the visuals of the kick, a lot of work was put into making it responsive and easy to use in all si