Some of the best games ever released, including genre-defining PlayStation nama138 games and underappreciated PSP games, have one remarkable thing in common: they change the way players see. Not just in the metaphorical sense of themes or worldviews, but quite literally—through creative manipulation of perspective. Sony has continually supported titles that play with how players visually engage with space, narrative, and identity.

In The Last of Us Part II, this manifests through character control. Midway through the story, control shifts from Ellie to Abby, forcing players to experience events from both sides. It’s a jarring switch that recontextualizes previous choices. Sony’s support for such an emotionally risky design proves its willingness to challenge narrative conventions. Perspective isn’t just a camera angle—it’s the moral lens through which players process story.

Gravity Rush, a cult favorite from Sony Japan Studio, takes perspective literally. The protagonist can shift gravity at will, turning the game world into a dizzying playground. Skyscrapers become floors. The sky becomes ground. Combat and exploration hinge on orientation. It’s not just innovative—it’s disorienting in the best way. Sony’s greenlighting of such a wild concept reflected trust in ideas that challenge the norm.

Even on PSP, games like Crush explored psychological shifts through perspective. By toggling between 2D and 3D views, players could solve puzzles that otherwise seemed impossible. The mechanic wasn’t a gimmick—it was the entire premise. In Lemmings, another title reimagined for PSP, the shift came in controlling groups instead of individuals. Each decision was indirect but consequential, forcing players to adopt a broader, strategic view.

Sony’s investment in shifting perspectives isn’t just visual—it’s intellectual. It pushes players to think differently, to reconsider assumptions, and to embrace disorientation as a source of discovery. That’s not just smart design—it’s bold artistry.