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In case you haven't heard, Sony recently announced that it will stop producing physical game discs come 2028—a move PC Gamer's Wes Fenlon argued continues a trend of consoles turning into little more than worse PCs . But Daniel Ahmad, a videogame market analyst and director of research and insights at Niko Partners, argued in a post on X that we've all done this song and dance before (thanks, Gamesradar ).

"[It's] like Apple removing the CD Drive from its laptops starting in 2008," Ahmad said in the post. "There were definitely a high number of complaints at the time, but not a single person is complaining about it today. You couldn't find many people complaining in the early 2010s either."

He does add one apt caveat to this comparison, saying "this time a new laptop will cost $5,000 and my old one with a disc drive works just fine." Ahmad argued that this was an inevitable outcome for Sony: "If not PS6, then PS7." Digital sales of full games have come to make up the overwhelming majority of sales for both Playstation and Xbox, therefore "the truth is that the console ecosystem is nearly entirely digital at this point."

But he also points out this isn't just a "market-driven" change, but a "platform-led push by Sony" to squeeze out more money per user⁠—something the company's leadership has said is a major priority moving forward . Sony makes more on a digital game sale on the console's bespoke marketplace (in other words, a closed ecosystem further emphasized by the company's move away from PC ports ) than it does on a retail game sale.

As console prices continue to balloon in the wake of the RAMpocalypse , the company is looking for extra ways to "focus on hardcore gamers who are willing to spend more than ever" even if it means alienating players who refuse to make the switch to digital gaming.

As for whether the backlash could change Sony's course, Ahmad isn't sure: "I'd say it's unlikely, but I wouldn't be surprised if they do end up clarifying certain aspects … Regardless of whether we're talking about bringing physical back, or embracing digital, the conversation needs to shift to consumer rights and what a license should enable. Stop Killing Games was one part of it, but gifting, family sharing, refunds, and other aspects are just as important."

I still use an external CD drive on my PC with some frequency, and it's hard to imagine the Playstation 6 coming with an attachable alternative ( like the PS5's digital-only version has ) now that Sony is leaving physical game discs behind. But this move has also been precipitated by the degradation of physical games' value: We all probably remember the first time we opened a box to only find a download code, or waited a good long while for an install process that was way too big to be a day one patch.

2026 games : All the upcoming games

Best PC games : Our all-time favorites

Free PC games : Freebie fest

Best FPS games : Finest gunplay

Best RPGs : Grand adventures

Best co-op games : Better together

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Too many people with assistance dogs are routinely denied access to businesses and services, writes Eleanor Briggs

Joanne Hewitson from Hartlepool only wanted to enjoy breakfast at her local pub, accompanied by her guide dog, Rosie. Instead, a member of staff wrongly and repeatedly demanded identification for her guide dog, making her feel so unwelcome that she felt she had to leave ( Blind woman ‘livid’ after Wetherspoon’s pub asks for guide dog’s ID, 7 July ).

Joanne’s experience is not unique. Guide dog owners are refused entry or told to leave pubs, places to eat, taxis, shops and essential services right across the UK, despite businesses’ own policies stating that assistance dogs are welcome.

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On April 6, the four crewmembers of NASA's Artemis II mission swooped around the far side of the moon in their Orion spacecraft, disappearing from Earth's sight and losing all contact with humanity for roughly 40 minutes.

At the same time, some 250,000 miles (400,000 kilometers) away, Chris White, the mission's lead communications officer, was nervously pacing the halls of NASA's Mission Control Center in Houston, waiting for the chance to do his job again.

"It was all nerves," White, the lead integrated communications officer (INCO) on Artemis II , told Live Science. In addition to maintaining communication with the Orion spacecraft (an impossible task while the moon blocked every signal), the INCO team also controlled its exterior cameras — a job White had previously done for the International Space Station (ISS).

The team knew for over a year what Orion's lunar flyby would entail, and which shots the cameras should capture. They had sent a checklist of nearly 300 commands to Orion that morning, telling the cameras exactly what to do after the spacecraft vanished behind the moon . All that remained was to wait.

After 40 minutes, bits of telemetry data started popping up on White's monitor as the Orion crew reemerged safely from behind the moon. Voice contact soon followed. But it would still take another day for Orion's flyby photos to traverse the space between the moon and Houston. When White finally opened the file the next morning, his body failed him.

"I opened a photo — the eclipse photo — and I couldn't breathe," White said. "I was like, 'There's no way that this turned out this well on the first try.'"

The INCO team's incredible Orion spacecraft photos have now been viewed by tens of millions of Earthlings. Live Science recently spoke with White to get the inside story of the images and the entire Artemis II mission as it was seen from NASA mission control.

Artemis II Lead INCO Chris White (right) and INCO Flight Controller Matthew Johns (left) in the White Flight Control Room at NASA’s Mission Control Center in Houston on April 6. On the monitor behind, the Orion spacecraft approaches the moon for its close flyby. (Image credit: NASA/Robert Markowitz) Brandon Specktor: In a nutshell, what was your job on the Artemis II mission?

Chris White: During the mission, the INCO console manages all of the communication systems on the spacecraft, as the name kind of implies. We handle not just the video and the camera system but also the onboard audio system — which was the first flight for that — the system for radio communication and the optical communication system, which was a laser system on Artemis II . We also handle a couple of other minor systems.

During liftoff, I looked up from my console screen zero times to look at the live video.

BS: What was the vibe during liftoff?

CW: So, for liftoff , I was in the back, in a support room. The vibe was intense. Everybody was laser-focused on the task at hand. During simulations leading up to it, we had fake, simulated CGI views [of liftoff] to give us an idea of what we were going to see. I always thought, "Man, it's going to look so much cooler in real time." But then during liftoff, I looked up from my console screen zero times to look at the live video. So I didn't see a lot of that footage until the next day, when I had a chance to breathe.

The INCO team was basically flat-out busy for at least the first three flight days. For a lot of my team, it wasn't until after flight day three where things — and I'm going to use air quotes — loosely "calmed down." I don't think any of us truly relaxed until the vehicle was safely in the water.

A view from cameras on board the Orion spacecraft as the solid rocket boosters are jettisoned several minutes after liftoff. (Image credit: NASA) BS: Let's talk about the lunar flyby. What was your experience watching along with the crew as they got closer and closer to the moon?

CW: It was incredible. I've seen the moon through the ISS cameras, and I'd watched the moon, over the course of the previous five flight days, slowly get larger and larger. But there was something logarithmic — almost like it just got really large very quickly on flight day six as we got close to the moon.

And the moon looked wrong, which sounds kind of crazy to say. We're so used to the way that the moon looks from our perspective here on the Earth, that when the vehicle was coming at it from an angle, you could see more of the backside of the moon. So you're in awe of it approaching and getting larger and realizing what's about to happen ‪—‬ but also my brain hurt trying to reconcile what I was seeing, because it didn't look correct. The shape and texture were different than what my brain expected.

The Orion spacecraft approaches the moon during its close flyby. "The moon looked wrong" from this unusual angle, White said. (Image credit: NASA) BS: And the colors too, based on what the astronauts said . Did you notice anything unusual about the moon's coloration?

CW: It was hard to tell. The bandwidth limitations of being that far away from Earth made it hard to distinguish a lot of those finer details. But there was a moment where we looked at it and we were like, "I think we can tweak the exposure on this." It was a little too dark, and then we bumped it up a little bit. And all of a sudden, these muted grays became a little bit more brown. I was not expecting to be able to see that from our cameras.

You see it much more in some of the high-res photos that the crew took. But it was honestly shocking to see how much more color shows up even just a little bit as you get closer.

My brain hurt trying to reconcile what I was seeing.

BS: As you were doing that flyby, did you have a strict checklist of shots you had to take?

CW: Yeah, absolutely. Flyby was a heavily choreographed event for the Orion cameras, as well as the crew and the science community. But we had started working on that plan well over one year earlier, and we knew exactly what shots we wanted and when we wanted them. The timing of all that shifts slightly, depending on exactly when you launch. So we had a framework in place, and then we just tweaked the timing in the 24 hours leading up to the events.

I think it was something like 290 total commands over the course of eight hours. We just scripted and time-tagged and put them on the vehicle, so it just clicked through them.

Orion's cameras capture Earthset — the surreal moment when a crescent Earth disappears beyond the moon's horizon. (Image credit: NASA) BS: How does that work during the eclipse phase, when you were out of contact?

CW: So we knew when Earthset ‪—‬ and, therefore, the start of the loss of signal (LOS) ‪—‬ would be and when Earthrise would be. And so we had the cameras flip into kind of a time-lapse mode at that point and then take a 30-second interval time lapse as the Earth got smaller and smaller and smaller behind the moon. All of that was scripted.

And then, behind the moon, during the LOS, it continued to take photos at a slower pace. I think it was like once every few minutes. We had all that on a timer, basically.

BS: How soon after the lunar flyby did you get to see the images?

CW: Luckily, we had a great optical comm pass that same night. So all those photos came down via laser to the Earth, and I saw them the next day. I didn't see them in the moment; I saw them the next day.

And I opened that photo — the eclipse photo — and I couldn't breathe. I was like, "There's no way that this turned out this well on the first try."

BS: Is that the photo that stands out most to you from the flyby?

CW: Yeah, it absolutely is. A lot of the photos you take in space, people are like, "Oh, where are the stars?" And it's because you have to expose the camera to the very bright, shiny spacecraft in front of you, and all the stars fade away into the blackness in the background.

But because the sun was behind the moon, you have the moon in the foreground in focus, the sun kind of bleeding out from behind it. The stars and the planets are all there. You can see Venus; you can see Saturn; you can see Mars. And then you have the glow of the spacecraft — it's not lit by the sun, but by the Earth — in the foreground. It was an incredible photo.

The Orion crew experienced a total solar eclipse while orbiting behind the moon. The spacecraft cameras capture the first hint of sunlight bleeding into view again as the capsule begins to reemerge. (Image credit: NASA) BS: What were you guys doing during that loss-of-signal phase? What was the vibe like then?

CW: I was pacing around the control center. The INCO team is responsible for keeping communication with the vehicle as much as we can, and there's not really much that we can do about that when you put a celestial body between us and the crew.

It's all nerves. It's all of the, "Hey, did we configure everything correctly? Are communications going to come back on the other side?" So just to distract myself for the 40 minutes that we were at LOS, I just kind of walked around the building and chatted with other people, just to try to keep myself distracted.

It wasn't until about three or four minutes after Earthrise that we started getting stable video, and then the crew called down. And that was really when I breathed a sigh of relief, once I heard voice coming down from the vehicle again.

BS: Do you feel different after this mission?

CW: People keep asking me that. I don't know that I've had quite enough time to fully unpack the mission. But I think it's slowly sinking in that we just sent four people around the moon, literally further away from Earth than ever. And I think, not only did we change them and the flight control team from that experience, but I think we changed a lot of people's perceptions of the moon , which is awesome.

BS: Do you know what your role for Artemis III is going to be?

CW: I definitely still plan to be on the INCO team for Artemis III. I will not be the lead for that mission. But I definitely still plan to be on console and hope to take some even more incredible photos during that mission.

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BS: Any closing thoughts?

CW: I just want to stress what a team effort this was. The vehicle cameras had a script and a plan that involved not just the INCO team. But to point these cameras, I have to get the solar arrays swung forward in a specific direction, so I have to coordinate with the power guys. I have to sometimes ask the GNC [guidance, navigation and control] team to rotate the vehicle itself, which is entirely different from how we do things on ISS. There was our imagery team handling camera settings and proper exposure. There's the engineers who developed these systems.

This was not just me and the INCO team on console. It was truly a full flight control team effort to get these.

Editor's note: This interview has been condensed and edited lightly for clarity.

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