The recent release of NOBY NOBY BOY cements the PS3 as the most reliable destination for "play" with or without the "game".
What NOBY NOBY BOY does for you is entirely dependent on two things.
First, it depends on your tolerance for the utterly bizarre. Its entire color palette is made up of pastels -- no primary colors, really, but never quite reaching the unnatural glow of pure neon. You start as a peanut-shaped thing but quickly turn yourself into a worm with a disproportionately large head and backside. You crawl around a floating, rectangular patch of land, the danger of falling off ever-looming, while you eat and poop everything you can in an effort to make your worm-like body more stretchy, and by extension longer. There's something called a space squirrel involved. If you zoom out far enough, you get to see a space-eye view of the planet you're on, complete with a little character of some sort sitting on the top. And, in an oddly phallic twist for an E-rated game, you (as BOY) report your length to something called GIRL whenever you feel it necessary, contributing along with the rest of the NOBY NOBY BOY community to her own eternal stretch through the solar system.
For the most part, what this means is that there is no "game" to NOBY NOBY BOY; there is only "play".
This sort of mechanic is becoming something of a habit for the PlayStation 3, particularly in the PlayStation Network's library of downloadable titles. In the week before NOBY NOBY BOY was released, we saw Flower, the hype for which is actually stealing the thunder from this week's release of Killzone 2; though we know who's going to win in sales between those two, I don't see Killzone getting a gushing writeup on Entertainment Weekly's blog any time soon. Preceding Flower was flOw, another non-game with a dubious set of "goals", and even the early PSN title Pain is little more than a sandbox in which to play. The trophies are here to satiate those who would try to wring a "game" out of these titles (and some of them present themselves as more linear and game-like than others), but the game is not the point. Simply being a part of these games' respective worlds is the point. Even Home, the PS3's answer to Second Life, falls into this category, giving PS3 users something else to do even as they're not strictly gaming.
What Sony seems to have hit on here is a way to appeal to mature gamers, likely the ones who've been with the Sony brand since the original PlayStation, by providing a counter-argument to the idea that what mature gamers want is bigger, bloodier, and more photorealistic. By providing these open worlds, "games" with an innocence and a distinct lack of competitive appeal alongside things like Metal Gear Solid 4 and the aforementioned Killzone 2, they're acknowledging that "mature" is a multifaceted concept; that sometimes, all we need is a little bit of peace, a little bit of joy, and maybe a little bit of community.
This is not a cooperative goal like those of recent first-person shooters or even the hero-sidekick mechanics of something like Super Mario Galaxy; the quality of the game for everyone who plays it is entirely dependent on the willingness of its entire population of players to play it enough to expand its solar system. If the game's fanbase quickly diminishes, we may never know the extent to which its programmers planned for GIRL to stretch, and there's something exciting about having to depend on the rest of a world of players to find out. We may not even ever know what Mars looks like, which would be a right shame given the mass improvement that even the moon presents over the earth in terms of gameplay -- the bigger surface on which to stretch and the multitude of new creatures to look at contribute to the sense of just how absolutely vital this aspect of the game is to maintaining player interest.
Also, it's $5, which seems a small price to pay to help promote the sort of imagination present in an experience like NOBY NOBY BOY.