Nintendo’s Switch console has now reached nearly 37 million units sold over its lifetime. (Nintendo Photo) Nintendo, the youngster of the video game console market — well, at least the youngster the current console generation — continues to grow steadily as its primary competitors struggle with the inevitable effects of old age. Sales of Nintendo’s hybrid Switch console rose to 2.13 million units in the June quarter, up more than 13 percent from the same period a year ago, Nintendo said in its . The company’s profits fell overall, but that was largely due to the effects of exchange rates rather than any fundamental issues in Nintendo’s business. With the latest results, nearly 37 million Switch consoles have been sold since the March 2017 release. That compares to 13.5 million units over the life of the company’s prior console, the Wii U; and more than 100 million units of the blockbuster Wii console. Sony’s PlayStation 4, originally released in 2013, sold another 3.2 million units in the June quarter, according to Sony’s earnings release. That pushed the PS4’s cumulative total to more than 100 million units, , according to Daniel Ahmad, senior analyst at Niko Partners, . This makes PlayStation 4 the fastest home console to reach 100 million unit sell in. Faster than both the PS2 and Wii which were just behind. It took PS2 a total of five years and 9 months. PS4 was just 5 years and 7 months. — Daniel Ahmad (@ZhugeEX) However, overall sales of the PS4 were flat compared to the same quarter a year ago. Sony blamed the result on the buzz surrounding This type of lull is a classic sales-and-marketing challenge for consumer electronics makers, as some of those who would otherwise buy an existing console decide to wait to buy the new one, or to buy the existing one at a cheaper price when the new one comes out. “PS4 hardware unit sales in the first quarter were slightly below our expectations primarily due to the news regarding our next generation console,” Sony said . “Taking this into account, we have decided to prioritize profitability going forward, and have revised downward our forecast for hardware unit sales by 1 million units to 15 million units.” The black line in this Sony graphic shows the declining trend in PS4 unit sales in recent years, but the console still reached 100 million units in record time. At the same time, Sony said, “The fact that we plan to sell 15 million units this fiscal year, which is the 7th year since launch, demonstrates that the PS4 platform is still garnering support from many users.” Nintendo , the Switch Lite, but that announcement was after the end of the June quarter. The company has , with numerous users reporting problems with the Switch controller. reported Tuesday that the Switch can now run Android apps, thanks to an unofficial port. Nintendo, based in Japan, has its North American headquarters in Redmond, Wash. Across town, Microsoft’s gaming segment was . This unit, including Xbox hardware, Xbox Live subscriptions and gaming revenue, declined 10 percent year-over-year to $2.05 billion in the quarter, due largely to a 48 percent decrease in Xbox hardware sales. The Xbox One also dates to 2013. Last month, , code-named Project Scarlett, to be released for the 2020 holidays. Across the industry, game console spending in the U.S. is down 20 percent so far this year, according to the NPD research firm. Hardware spending in June dipped 33 percent year-over-year to $235 million, NPD reported.
(Sony Screenshots) The best moments in are also its most intense. The game’s not-zombies, “Freakers,” aren’t much of a threat at all if you can fight them one at a time. By pairs, they’re a little more dangerous. If three or four show up, it’s time to get clever or maybe throw a bomb. When Freakers show up in groups of 50, screaming and running headlong at you in a weirdly fluid human wave, your heart jumps into your throat and you immediately have to start improvising. That’s when you can appreciate the game’s craftsmanship. Every environment in Days Gone is a quiet maze of hiding places, back doors, crawlspaces, blind corners, and potential escape routes. The first time I explored a town, it was weird when I saw how many buildings had seemingly random open windows, broken fences, and rooftop exits. Then I had to revisit the same town a couple of hours later with 100 Freakers in hot pursuit, and it all made sense. Days Gone is an exclusive for the PlayStation 4, made by Sony’s SIE Bend Studio in Bend, Ore. known for its Syphon Filter series. The game has been in development since 2015. Playing it feels like a deliberate distillation of a lot of zombie games, shows, and movies from back then, all thrown together into a deliberately grimy post-apocalyptic version of the studio’s backyard. Whenever you’re on the run from a horde, everything you can do to slow them down or split them up becomes crucial, no matter how simple it is. Even if you just buy a second, that’s one extra second in which to slap together a bomb, reload a gun, or throw a distraction. You end up leading several hundred screeching monsters on this “Tom & Jerry” chase scene through half a zip code, diving through windows, setting up traps, ducking through gaps in fences, and whittling them down however you can with whatever you can find. There’s nothing else quite like it in current video games, which makes it a shame that it takes such a low proportion of Days Gone’s running time. For most of it, you play the part of a motorcycle-riding bounty hunter, moving between isolated settlements of survivors in search of odd jobs, supplies, and a frankly insane number of collectibles. The standard 2019 sandbox-game formula is in full effect here, where you spend most of your free time cleaning out enemy camps and capturing bunkers, in order to take over the world map piece by piece. Every time it started feeling a little too routine, though, I ended up running for my life from another hundreds-strong zombie lynch mob, and it got my attention all over again. It also feels like one of those games where they didn’t finish it so much as they finally had to stop developing it. Days Gone is decidedly rough around the edges, especially when compared to a lot of Sony’s recent first-party exclusives. I never ran into any serious crashes, but did have to deal with the occasional worrying framerate drop, the audio cutting out without warning, and rock-stupid enemy AI. Some of the missions end abruptly, or feel as if they’re not quite done, and every so often, the physics engine glitches out and some zombie’s body goes flying into low orbit. Days Gone does have solid fundamentals, though. It’s poised on the same borderline between stealth, action, and survival horror as something like The Last of Us, but successfully transplants those systems into a small, detailed open world. You’ve got a solid toolkit for shooting, driving, and stealth, along with one of the better-feeling motorcycles I’ve ever driven in a sandbox game. It’s decidedly unpolished in some areas, but what it does well, it does very well. The game is set in backwoods Oregon, in a small area of tiny towns, rest stops, and tourist traps, a little over two years since the fall of civilization. A disease broke out that turned most of the human population into cannibalistic, violent Freakers, which drove the survivors out of the cities and into the countryside. Now, the survivors have mostly banded together into a handful of reinforced encampments, built out of vacation homes and roadside attractions, where they try to survive off of what resources and supplies are left in the area. You play as Deacon St. John, an Army veteran and biker who lost his wife in the initial outbreak. These days, he’s a drifter, doing odd jobs for the local camps alongside his buddy Boozer. The game begins when, over the course of a surprisingly short period of time, Deacon’s bike gets stolen, Boozer gets badly injured, and Deacon learns that there was more to the story of his wife’s death than he initially realized. That sends Deacon off on a series of new jobs, in order to save Boozer and finally come to terms with his loss. One of the things I like here is that Days Gone is mostly a story about humans caught in a bad situation, who are dealing with it as best they can. Everyone in it is half-nuts from PTSD, but this isn’t about how humans are the real monsters. It’s just about people, messy and broken and trying to put their lives back together. It’s especially obvious when you run into one of the flashback levels, where the whole game’s color palette instantly expands into a Romantic landscape painting. The main game is so heavily tinged by survivors’ guilt that it’s downshifting the color spectrum. The actual gameplay is fairly standard stuff, albeit executed well. You use stealth and distraction tactics to set up ambushes or avoid conflict, while you scrounge up materials from the environment to turn into gadgets and weapons. You can learn new crafting recipes by knocking over bases and cleaning out ambush camps, which also unlocks new fast-travel points on your map. If a fight does go loud, you can get an early update which activates “Focus Mode,” giving you the ability to slow down time for short periods, allowing you to line up an easy headshot or two. This is utterly crucial early in the game, when you’re stuck with whatever broken-down weapons you can scrounge up, and is just a nice quality-of-life increase later on. What’s impressive is that Days Gone, as noted above, does do both action and stealth reasonably well, if not remarkably. This is actually a rare thing; usually, a game that tries to thread this particular needle ends up favoring one or the other approach. In something like Watch Dogs 2, which is ostensibly trying for the same balance, the stealth is so blatantly the “right” way to play the game that getting into a gunfight feels like it’s a failure condition. Days Gone actually makes both approaches worthwhile and useful. As noted above, though, it does play like it’s a distillation of several previously successful games, and there’s a lot here that’s strictly formula. I groaned out loud the first time the game asked me to take out an enemy stronghold, particularly since you can mark enemies from a distance with Deacon’s binoculars. It felt like I was right back in one of the recent Far Cry games, right down to the chance that random animals will wander into the ambush camp and do most of my work for me. Side note: I’m not even sure why Days Gone has bandit camps at all, since the wilderness outside the settlements is supposed to be so dangerous that Deacon is one of the only people dumb enough to go out there. Who are these people robbing? The big gimmick here, though, which sets it apart, is the Freakers, and the chance that if you aren’t careful, you’ll end up drawing a couple of hundred of them down on your location. In its best, most memorable moments, Days Gone is always one random explosion away from turning into Zombie Mardi Gras, and that constant element of risk is what makes it worth the price of admission. To be fair, I’m an easy mark for zombie games, so take my recommendation with a grain of salt. I’d be happier with Days Gone if it focused more on the Freakers, rather than time-killing map activities like fighting bandits, and it’s decidedly unpolished. I still had a lot of fun with it, and I stayed interested all the way through because I wanted to know what would happen to Deacon. It’s well worth your time. Editor’s note: Sony provided an early digital copy of Days Gone for the purpose of this review.