We’ve just launched Dune: Awakening on PlayStation 5, but we’re only getting started. We’re excited to bring two more of our open-world survival adventures to PlayStation 5 in early 2027.

Soar the skies in Aloft, then visit the unforgiving Exiled Lands in Conan Exiles Enhanced.

Aloft: Build a home among the clouds

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Today, we are proud to unveil the most climactic narrative arc in Where Winds Meet yet: Hutuo, a sprawling new region launching November 13 alongside the game’s first global anniversary update. Marking a major turning point in Where Winds Meet, Hutuo invites you onto an epic, war-torn frontier to experience a story of unwavering conviction, camaraderie, and the true meaning of heroism.

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When I founded WDR Studios with my colleagues, the goal was simple: make the kind of games that we’d want to play. I wanted to apply the lessons I’d learned from years of managing a successful YouTube channel to the medium of video games, drawing inspiration from some of my favourite titles to create a fresh horror experience that puts gameplay first. 

That’s how Terrible Lizards came to be.

Perfecting paleo platforming

Terrible Lizards is a 3D first-person platformer, but we also use the term “parkour” to describe the game’s emphasis on movement through physical spaces. You could also call it an action/horror dinosaur game, in that you’re running for your life from dinosaurs. That balance between fear and fun is central to the game’s design philosophy.

As with any platformer, we knew we had to place an emphasis on enjoyable, engaging movement. Terrible Lizards is a fun game to be inside of, with controls and mechanics that are satisfying to use: runs, jumps, sliding, wall running, bounces, as well as grabbing ledges and leaping from ledge to ledge. There’s also a bunch of different tools that you can use to manipulate each level and environment. Overall, the game has a very tight feel to its control scheme, promoting intuitive movement with precise timing.

When we decided to utilize a first-person perspective, we made sure to create movement that felt distinct from other parkour games, instead building platforming mechanics based on the movement styles of popular first-person action shooters. There’s a balance between floatiness and a strong sense of control, and finding that perfect balance became our “secret sauce” for achieving a satisfying gameplay feel.

The result is a rhythmic game flow, where the player feels in control of everything. In our game, you’re always going the maximum speed whenever you can move and jump: it’s fixed, which makes it predictable and rhythmic at the same time. It’s easy to get into a good flow state, especially with things like aerial control. Instead of having to run and jump, your momentum carries forward, so you can just jump and stay moving.

It’s subtle but effective, and we’ve found it allows for both a low and high skill ceilings. Players can use aerial control to correct an over jump, or to move side to side in an instinctual way. You know when you play a racing game and can’t help but physically lean your body into turns? That feeling plays out here, too.

Jurassic parkour

The game takes place in the early 1990s, where you play as a college kid road tripping out west on Route 66. When your car breaks down, you venture into a roadside attraction called Dalton’s Dinos looking for help… but you find something terrible instead. 

We’re very inspired by the current indie mascot horror niche, which takes familiar iconography and twists it into something new, as all horror does. We started with a few broad concepts—American nostalgia, interstate road tripping—which led us to the roadside attraction as a premise. And when you look into the tradition of those attractions, there’s often a lot of silly d

When we started working on Saros, we knew we had an interesting challenge ahead of us. We had established a very distinctive audio identity with Returnal, and Housemarque gave us a clear direction from the beginning: “Refinement, not Reinvention.”

That became a useful principle throughout development. We carried forward our gameplay-first approach, our emphasis on strong and satisfying player feedback, our immersive soundscape, and our ambition to showcase PS5 features such as Tempest 3D Audio and DualSense haptics.

At the same time, Saros is a brand-new IP with its own characters, story and tone. Every piece of audio content needed to feel unique and help establish the world of Carcosa.

Finding the sound of Carcosa

Very early on, we started looking for elements that could define Saros sonically. The Eclipse became one of our first creative anchors.

It is central to the world and story of the hostile planet, so we began experimenting with its sound identity. One of our most useful discoveries came from a didgeridoo recording session in our studio. With creative processing, the recordings felt epic and became incredibly versatile. With further manipulation, they could even begin to sound like a deep voice.

This eventually became the foundation for the Yellow King’s vocalisations and helped define the wider Saros sound palette, emphasising the influence of the Eclipse, the Yellow King and the Corruption throughout the game.

The cinematic announcement trailer, which was the first presentation of Saros to the public, became an opportunity to showcase these creative explorations, featuring the didgeridoo source alongside many other sounds.

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