A little over a year after bringing Minecraft Earth in the US, Microsoft announced this week it will shut down the game later this year. Engadget reports: Minecraft Earth players have until June 30th, 2021, to play the augmented reality title before Microsoft shuts down its servers and it's no longer available to download from app marketplaces. Developer Mojang Studios blamed the coronavirus pandemic and all the changes to day-to-day life that have come with it for the shutdown. "Minecraft Earth was designed around free movement and collaborative play -- two things that have become near impossible in the current global situation," the studio said. Like Niantic with Pokemon Go, Mojang had tweaked the game to make it easier to play at home. Those changes clearly weren't enough.

But if there's a silver lining in today's news, it's that Mojang plans to send off Minecraft Earth in style. The studio is rolling out one last update for the game it says contains changes "to make your time in Minecraft Earth as fun as possible." Among other tweaks, the update does away with real-money transactions and drastically reduces the time it will take for players to craft and build things within the game. It also offers players a chance to see all the content that Mojang was working on before today's announcement. "We hope these adjustments will allow you to explore, craft, and build more -- while staying safe indoors," the studio said. Once June 30th comes and goes, Microsoft will delete player data on July 1st. If you spent money in Minecraft Earth at any point during the life of the game, you'll get a token that will allow you to download the Bedrock edition of Minecraft to your mobile device. You can find more details on the shutdown on the Minecraft website.

Discovery+, the new streaming channel from Discovery, is officially available in the U.S.. "The list of places where you can download Discovery+ is extensive, with almost every popular platform but the PlayStation 4 and PlayStation 5 included in the company's launch slate," reports Engadget. From the report: Most notably, you can access the app through Amazon Fire TV streaming devices and Fire Edition TVs -- with support for Prime Video Channels coming at a later date. At launch, Discovery also supports Roku devices and 2017 and later Samsung Smart TVs. Typically, Amazon Fire TV and Roku are left out of streaming launches. Of course, you can also access Discovery+ through Apple TV and Android TV if you have those instead.

Discovery+ will set you back $5 per month for the base tier. It's an extra $2 every month if you don't want to see any ads. At launch, you'll find content from channels like HGTV, Food Network, Animal Planet, TLC and of course Discovery. The $5 and $7 price tags put Discovery+ in competition with other specialty services like Peacock and Disney+, which may make it a tough sell for some people.

According to The Wall Street Journal, failed mobile-first streaming service Quibi is in advanced talks to sell the rights to its content library to Roku for an undisclosed price. The Verge reports: If it were to happen, the deal could give the Roku Channel exclusive access to Quibi's slate of programming. None of Quibi's shows ever really took off, but Roku may feel that the content would stand a better chance when available on the best-selling streaming devices in the US.

Quibi announced it was shutting down back in October, just six months after its much-hyped launch. The service was headed by former HP CEO Meg Whitman and former Disney chairman and movie producer Jeffrey Katzenberg, who managed to raise almost $2 billion in funding before the app was released. Katzenberg had already tried to get companies including Facebook and NBCUniversal to pick up Quibi programming ahead of its demise, according to The Information.

CNET reveals 2020's most popular show among video pirates: It probably won't come as a surprise that Disney Plus smash hit series The Mandalorian has won the (unfortunate) title of most-pirated TV show of 2020 — using popular torrenting site BitTorrent. According to analysis from TorrentFreak (via IndieWire), Game of Thrones was the most-pirated TV show seven years running. But the HBO series ended in 2019, leaving The Mandalorian to improve its ranking from third to No. 1.
The rest of the list, from IndieWire: Prime Video's irreverent superhero series "The Boys" is at number two, HBO's "Westworld" is number three, Prime Video's "Vikings" is number four, CBS' "Star Trek: Picard" is five, followed by Adult Swim's "Rick and Morty," AMC's "The Walking Dead," HBO's "The Outsider," CW's "The Arrow," and CW's "The Flash."

Long-time Slashdot reader serviscope_minor wanted to remind us that 2020 also saw the death of science fiction/fantasy author Debra Doyle at the age of 67 from a sudden cardiac event. "Her works were co-written with her husband, James D. Macdonald," notes her entry on Wikipedia: Her first work written with Macdonald was "Bad Blood" in 1988. Their novel Knight's Wyrd was awarded the Mythopoeic Fantasy Award for Children's Literature in 1992 and appeared on the New York Public Library Books for the Teen Age list in 1993. They published two series, Mageworlds (7 novels) and The Wizard Apprentice (8 novels), and two alternate history novels, Land of Mist and Snow and Lincoln's Sword.

Doyle and Macdonald also published together under other names. They published their first novel, Night of Ghosts and Lightning, in 1989 under the house name Robyn Tallis; two Tom Swift novels under the house name Victor Appleton; Pep Rally, Blood Brothers, and Vampire's Kiss under the house name Nicholas Adams; and two Spider-Man novels as Martin Delrio.

Together Doyle and Macdonald made up part of the core membership of the sff.net website and rec.arts.sff newsgroup. Doyle also taught at the Viable Paradise genre writer's workshop on Martha's Vineyard.

Today a staff writer at Salon argues "The Mandalorian" has redeemed the Star Wars universe: The Disney+ series "The Mandalorian" has been both a critical triumph and commercial success. In my judgment, it's the most compelling live-action story in the "Star Wars" universe since 1983's "Return of The Jedi".

To that end, the story in "The Mandalorian's" first two seasons about a mysterious bounty hunter and "the child" (who is actually more than 50 years old) he's entrusted with as they navigate their way through a dangerous world — rife with "scum and villainy," where the remnants of the evil Empire still terrorize the galaxy — has accomplished something difficult in science fiction and other genre entertainment. Longtime and serious "Star Wars" aficionados are enthusiastic about "The Mandalorian's" attention to detail and obvious love and respect for George Lucas's "Star Wars" universe. More casual "Star Wars" fans can enjoy the series for its story of family, friendship and adventure, and of course for "baby Yoda," aka Grogu, "the Child," a character described by legendary film director Werner Herzog as "heartbreakingly beautiful...."

Where does "The Mandalorian" go next? Why is it such a compelling TV series and story? Is there such a thing as too much "fan service" in a genre film or TV series? Why has "The Mandalorian" been such a success, compared to the most recent "Star Wars" films? Disney and Lucasfilm have recently announced plans for 11 new TV series and at least three more feature films. At what point does "Star Wars" become overexposed and made into something common, a parody of itself?

In an effort to answer these questions I recently spoke with Bill Slavicsek, one of the writers and developers of the much-beloved "Star Wars" roleplaying game from West End Games. He is also the author of the "Star Wars Sourcebook," "A Guide to the Star Wars Universe," many guides to RPGs and, more recently, "Defining a Galaxy: 30 Years in a Galaxy Far, Far Away...." He was one of the main game designers for the Dungeons and Dragons RPGs and is currently the lead writer for the massively multi-player RPG Elder Scrolls Online. Fair warning: This conversation contains spoilers for Season Two of "The Mandalorian," which is now available on the Disney+ streaming service.
Meanwhile CinemaBlend shares some commentary from another source, writing that "We need more Star Wars discourse like this." No arguing about bloodlines, or one director undoing the plotlines laid down by another. Just all of us, being amused by a cat who delightfully thinks that he or she can catch the lightsaber that a brooding Kylo Ren is tossing away during a pivotal moment in J.J. Abrams' Star Wars: The Rise of Skywalker... And it even has Mark Hamill's seal of approval...

Kitty cats aside, it's a very good time to be a Star Wars fan. The Mandalorian just wrapped up an incredible season of television on Disney+ and Kathleen Kennedy recently ushered in a wave of new programming that will keep Star Wars on our radars for years to come.

An anonymous reader writes: So on New Year's Eve, the "jam" rock band Phish re-broadcast their legendary 1995 performance on New Year's Eve -- while playing a game of chess against the audience. (Just as they'd done in 1995 -- although during that tour they'd made two just moves during each show.) In a video promoting this year's event, a chess "historian" remembers "No single band in the '90s was playing better chess against their audience" and shares an alleged conspiracy theory that they were being coached by Garry Kasparov. And yet, "Midway through the second of two nights at Madison Square Garden, the audience takes Phish's queen" -- and the band resigned.

This had left their ongoing audience-versus-band match with a score (one game apiece). So 25 years later, for New Year's Eve, Phish finally staged the great re-match.

"However, just as it was time to begin the game (and as the show kicked off with opener "Punch You In The Eye"), Chess.com, the popular chess site hosting the online game, crashed," reports JamBands.com.
Thinking quickly, the band announced on Twitter that "We're making a quick pivot, 2020 style, to live chess mode. We will be using a moderator from Chess.com who will take feedback on the move within the chat and then complete the audience move."

JamBands.com explains how the long-awaited match finally culminated: In between sets, the broadcast cut to a live zoom call between all four band members, during which they discussed their next moves in the game and chatted. At various points, Gordon and Anastasio picked up guitars, and Gordon had a surreal projection of a chess board floating behind him at times. During the first break, McConnell referenced the technical difficulties. "I'm sorry this didn't work out to plan, but nothing this year did," he said with a laugh.

During the break between the second and third sets, the shenanigans increased, with drummer Jon Fishman following through on an off-hand promise to shave his head. (At first, the other three band members didn't even notice.) Ultimately, the band defeated the audience... Down to just their king, queen and a few pawns, the audience resigned as the band was up a pawn and still had a rook and queen on the board...

Phish raised funds for a charity during the broadcast. "For this final webcast of the year, our beneficiary will be none other than The WaterWheel Foundation itself," the band wrote prior to the stream. "Since 1997, the band and their fans have collaborated on a nationwide charitable endeavor by raising funds and donating the proceeds across the country. This year alone, collectively we have raised and donated nearly $750,000 to 27 different nonprofits during the Dinner And A Movie series. Join us in continuing to support those in need...."
You can watch the entire four-and-a-half-hour webcast on YouTube.

While publishers and stores feared COVID-19 would be an extinction-level threat, the industry has proved more resilient than thought. From a report: In March, when COVID-19 hit the comic industry in earnest, many retailers and publishers feared it would be an apocalyptic event for the business. Stay-at-home orders shuttered stores, and shipments of new product ceased for several months when Diamond Comics Distributors hit pause. Stores have struggled to survive, and some have shuttered permanently. However, months after the comic book industry restarted -- accompanied by a publicity campaign proclaiming that the industry's "comeback will be bigger than [the] setback" -- there are multiple signs that comics has proven to be far stronger than anyone, including those inside the industry, expected in the face of an uncertain year. "The biggest surprise started during May and June, as we were allowed to reopen, comics started shipping again, and customers were slowly starting to come back to the shop. Customers were buying comics. A lot of comics," California retailer Ryan Higgins tells THR. With comic conventions canceled and people not taking vacations, many fans concentrated on making their collections more complete.

"Comic supplies sales skyrocketed right away as people took this time to clean up their collection," says Higgins. "New titles were selling better than we ever expected, graphic novel sales spiked, and back issues jumped dramatically in price and flew out the door just as fast. Sales during the summer and early fall months were just unbelievable." [...] A key metric for the health of the industry is how many comics stores are ordering. Those numbers are moving in the right direction. "March 2020 saw Diamond ship 5.9 million comics; September and October were both over 7 million copies each," writes analyst John Jackson Miller in an email to THR. "Those are both behind the equivalent months in 2019; October 2019, with the X-Men relaunch, was the fourth best month of the decade of the 2010s. But per release, the sales levels are improved, and as the number of releases continues to build back, you can see it fully catching up." As Higgins suggests, it's not just new titles that are seeing a bump; multiple publishers told THR that back orders for already released material still available directly from the publisher scaled up in the latter half of the year, as well.

The past 12 months were billed as the year when a flood of new entrants would force streaming services to wage an all-out war for subscribers. Instead, incumbents and rookies alike feasted on a base of shut-in customers eager for more things to watch. From a report: The largest streaming services finished 2020 with combined U.S. subscriber numbers more than 50% higher than a year ago, according to a Wall Street Journal analysis of data from market-research firms MoffettNathanson and HarrisX. They enjoyed a captive audience. The coronavirus pandemic triggered lockdowns that sent millions of Americans home, leaving many people with more time to watch movies and shows from the couch. The virus also prompted movie theaters to shut down and sports leagues to go on hiatus for months, further boosting streaming services' appeal. "Instead of a streaming war, there's been streaming coexistence and parallel growth," said Dritan Nesho, HarrisX's chief executive. New services such as Walt Disney's Disney+ grew rapidly without necessarily harming established players such as Netflix and Hulu, he said. "Disney+ did not displace existing services," Mr. Nesho said. "It complemented them."

For the first time since the service arrived in April 2018, the ESPN+ annual plan is getting a price increase. From January 8th, it'll cost new members $59.99 instead of $49.99. Existing annual subscribers will have until at least March 2nd to renew their plan for $50. From a report: The monthly plan went up by $1 to $5.99 in August, so opting for an annual subscription instead of going month-to-month will save you $12 over a year. Of course, you'll save more if you lock in an annual plan before the increase.

An anonymous reader shares a report: In an average year, Spotify Wrapped is a sharing-optimized novelty hinging on nostalgia for a time that's barely passed. But in 2020, this data mirror instead presented many users with unexpected empirical evidence of their pandemic coping mechanisms: a strange hit parade of ambient music, background noise and calming sound effects that soothed them through an unusually anxious and sleepless time. While thousands of users posted in disbelief about their stress-inflected results, the situation made sense to Liz Pelly, a cultural critic who has written extensively about how Spotify and its competitors work to shape our listening habits. "It says a lot about the ways that corporate streaming services have ingrained themselves into our lives and facilitated music listening becoming more of a background experience," she said.

[...] The findings of some forthcoming research about pandemic coping mechanisms suggest ambient listening may be part of a larger pattern. Pablo Ripolles, a professor at New York University who studies music and the brain, was part of an international team of researchers that surveyed lockdown habits in Italy, Spain and the United States. Of 43 activities mentioned in a survey the team conducted, like cooking, prayer, exercise and sex, listening to or playing music had one of the biggest increases in engagement during lockdown, as well as the highest number of respondents who said it was the activity that helped them the most.

Spotify has joined the ranks of streaming services like SoundCloud and YouTube as a hub for bootlegs of popular songs. From a report: With obscured titles like "Jocelyn Flores but you're in the bathroom at a party" by eraylandin, a new take on XXXTentacion's popular "Jocelyn Flores," and "Dead To Me -- Kali Uchis (slowed + bass boosted)" by user Unreal sounds, a rework of Uchis' popular track from her 2018 album "Isolation," these underground remixers have chosen to upload their creations as podcast episodes, hoping to circumvent copyright infringement detection by the platform. Using simple keywords and terms like "chopped and screwed," "slowed and reverbed," "remix," and "mashup" in Spotify's search bar, users can track down bootlegged reworks of songs by many top artists which live on Spotify's podcast hub. Late rapper Juice WRLD, who still commands a cult following, has a full 'podcast series' dedicated to revealing his unreleased songs, like user No Si's podcast titled, "Instagram @xricardol.tx." The podcast contains 'episodes' like "Sugarfish (Leaked)," a song Juice WRLD wrote with The Chainsmokers that was never officially released, despite online rumors that the collaboration would become available in December 2019. These podcasts, like "Instagram @xricardol.tx," only contain the audio of specific songs and almost always list the tracks as individual episodes. There is nothing that resembles the typical characteristics of a podcast.

Amazon announced Wednesday that it's acquiring podcasting company Wondery, expanding its catalog of original audio content. From a report: As part of the deal, Wondery will join Amazon Music, the e-commerce giant's music streaming business. Amazon Music in September added podcasts to its platform, looking to carve out a share of the increasingly competitive podcasting market, in which Spotify, Apple and others have gained ground. Terms of the deal weren't disclosed. Wondery, founded in 2016, has produced some of the most popular podcasts in recent years, including true crime series like "Dirty John," "Dr. Death" and "Over My Dead Body." The podcast producer and network says it counts more than 10 million unique listeners each month. WSJ reported earlier this month that Amazon was valuing Wondery at over $300 million in advanced stages of talks before the acquisition.

An anonymous reader shares a report: In November 2019, just a few days after Disney+ launched, Netflix (NFLX) content chief (now co-CEO) Ted Sarandos, speaking at a Paley Center for Media event, said that Disney (DIS) is "bound by" its content universes, a reference mostly to Marvel and Star Wars. He continued: "I do think the risk of being bound in a few universes is that there sometimes may be a melting ice cube of interest over time." That has been the most common knock on Disney for a few years now: that if Disney keeps hitting the Marvel and Star Wars pinatas, fans will get tired of it. But the numbers have proven the theory wrong -- so far. Moviegoers vote with their wallets, and have voted in favor of more Marvel Cinematic Universe installments, more Star Wars stories. Six of the top 10 biggest U.S. box office openings of all time were Marvel movies, four of them "Avengers" movies. "Avengers: Endgame" (2019) is the No. 1 box office release of all time. As for Star Wars, the final three films in the "Skywalker" saga, "The Force Awakens" (2015), "The Last Jedi" (2017), and "The Rise of Skywalker" (2019), each topped $1 billion at the global box office, despite fan criticism of the plot of the final film. Spinoff movie "Rogue One" (2017) also hit the $1 billion mark. But those were all movies, with much-hyped theatrical releases.

On Disney+ over the next two years, Disney will truly test the limits of the fatigue theory with Marvel and Star Wars original shows, and might discover that even the most hardcore fans have a threshold. The sheer mountain of original content Disney unveiled at its 2020 Investor Day this month was almost comical: 52 new shows or movies coming in the next three years across Disney Studios, Disney Animation, Pixar, Marvel, Lucasfilm, National Geographic, ESPN, and FX. In the first year of Disney+, only a single live-action original series, "The Mandalorian," was enough to propel the platform to 86.8 million subscribers. In 2021, Disney will hit the gas, with six Marvel shows hitting Disney+: "WandaVision" in January; "The Falcon and the Winter Soldier" in March; "Loki" in May; animated series "What If...?" in summer; and a "Ms. Marvel" series and "She-Hulk" series (no specific date given, but Disney said 2021). Can even diehard Marvel fans find the time to watch all of those? And those are just the television shows. In theaters over the next two years, Disney will release "Black Widow," "Shang-Chi and the Legend of the Ten Rings," "Eternals," "Dr. Strange in the Multiverse of Madness," "Thor: Love and Thunder," "Black Panther 2," and "Captain Marvel 2." The Star Wars faucet won't start blasting until 2022 and 2023, when Disney+ will get the Star Wars spinoff shows "Andor," "Ahsoka," "Obi-Wan Kenobi," "Star Wars: Visions," "The Bad Batch," "Rangers of the New Republic," and "Lando."

When critics talk about Disney's franchise fatigue risk, they're mostly talking about Marvel and Star Wars, but if you look elsewhere in the Disney+ lineup there are additional examples of the argument. Disney's live-action releases coming over the next two years include a "Cheaper by the Dozen" remake movie, another "Lion King" live action movie, and live-action remakes of "The Little Mermaid," "Pinocchio," and "Peter Pan," plus a sequel to "Enchanted," a Cruella De Vil live-action origin movie, and "Sister Act 3." Disney is also planning a "Night at the Museum" animated series, a "Diary of a Wimpy Kid" animated series, and a "Chip N' Dale" animated movie. The criticism that almost everything Disney is doing is a prequel, sequel, remake, or spin-off is not unwarranted.

Engadget reports: Electrek notes that Tesla has released its promised holiday update, and the centerpiece appears to be a Boombox mode that pumps media outside as long as you have a recent-enough EV with a pedestrian speaker system, like later Model 3 production runs...

Other updates include a smarter Scheduled Departure that preconditions the battery and cabin without plugging in, larger driving visualizations (helpful for Autopilot) and at-a-glance views of the number of open stalls at Superchargers.
Electrek's report highlights some additional features: Earlier this week, we reported that it included 3 new in-car video games, but we now have the full release notes with all the details... "You can also customize the sound that your car makes when you press the horn, drive the car or when your car is moving with Summon. Select an option from the dropdown menu or insert your own USB device and save up to five custom sounds."

Since 1955 the U.S./Canadian operation that monitors North American airspace with radars and satellite to maintain air sovereignty has also, at Christmas time, been tracking Santa.

And this year their trackers received additional support from the U.S. Space Command, a joint-military command drawing its units from five military service branches (including the U.S. Space Force). That command "launched a new reindeer tracker to pinpoint the exact location of Santa's sleigh at any given time during the night," according to NPR's Morning Edition, with General James Dickinson telling them the equipment's official name: Rudolph Infrared Tracking System. "We made some upgrades this year."

And that was just the beginning, reports The Hill: Santa knows astronauts need presents, too, and made his first known visit to the International Space Station to deliver them this year.

The North American Aerospace Defense Command (NORAD), which tracks Santa's Christmas Eve journey every year, depicted in a tweet Santa arriving at the International Space Station on Christmas Eve...

The Federal Aviation Administration cleared Santa for the flight to space on Wednesday, providing him "for the first time ever" with a special commercial space license.
The astronauts aboard the ISS recorded a special Christmas video this year. (And a new article in Business Insider expores how astronauts on the space station have celebrated Christmas over the years.)

And NORAD is even maintaining a special web site at NORADSanta.org which not only let visitors track Santa, but through December 31st will also offer an arcade with Christmas-themed videogames, a selection of music by the U.S. Air Force Academy Band, and even a gift shop where you can buy "Santa and NORAD gear," including NORAD hoodies and tote bags.

Though a pop-up window warns visitors that "Clicking through to this next website does not constitute an official endorsement or approval by the United States Department of Defense or NORAD of any product or service."

Ananda Sharma, founder of the app Gyroscope, describes to a local TV station the monolith he discovered during a Christmas-morning jog under a candy-cane red sunrise.

"I think I smelled it before I saw it..."

He spotted a double rainbow and wanted to peek at that too. At first, he thought the monolith was "a big post," but as he got closer, he smelled the gingerbread scent wafting toward him. The monolith is standing in panels separated by icing...

"It made me smile.
SFGate spoke to another eye-witness: Alexis Gallagher also happened upon the sweet monolith at about 8:25 a.m. Friday morning, confirming it was made of gingerbread, frosting and gumdrops... "I had a closer look and it looks like there's a plywood skeleton underneath, but I try not to dwell on such mundane realities."

Gallagher added that he had to "stop my dog from nibbling on it..."
When reached for an official comment, the San Francisco Recreation and Parks Department General Manager told the TV news reporter that the gingerbread monolith "Looks like a great spot to get baked."

Then he added more sternly that "we will leave it up until the cookie crumbles."

But their article notes it raises several questions for Bay Area residents: Did Christmas-happy aliens beam it down from above? Did some rogue artificial intelligence escape a nearby Google campus, and, driven mad by our plethora of Christmas music...design an art piece to brighten our days? And just how expensive is it to rent a highrise apartment within its crumbly, ginger-pungent walls...?
SFGate's report ends with Ananda Sharma noting that it began raining in San Francisco at 11:30 a.m., adding, "not sure what happens to gingerbread in the rain but it probably isn't good."

Warner Bros. ruffled some feathers when it announced it would release all of its new 2021 movies simultaneously on HBO Max, but the company seems to be betting that theaters won't become an apocalyptic wasteland. From a report: Variety reports that the company plans to release Furiosa, the prequel to Max Max: Fury Road, and The Color Purple first in theaters in 2023. Warner's plan to launch next year's films online is a great thing for consumers who would rather stay at home than risk contracting a deadly virus to see, say, Godzilla vs. Kong. But the plan immediately made enemies of some Hollywood veterans. Director Christopher Nolan called HBO Max "the worst streaming service" and accused Warner Bros. of not telling anyone about its plan until just 90 minutes before it was announced.

Square, the digital-payment company run by Jack Dorsey, has held talks to acquire the music-streaming service Tidal as part of a push to diversify, according to a person familiar with the situation. From a report: Dorsey has discussed a potential deal with Jay-Z, the rapper and music mogul who acquired Tidal for $56 million in early 2015, said the person, who asked not to be identified because the talks were private. The negotiations may not result in a transaction.

Roughly half a billion people played Among Us in November, becoming "by far the most popular game ever in terms of monthly players," according to Nielsen's SuperData. The Verge reports: The success is even more remarkable because InnerSloth -- the company that makes Among Us -- only has four employees. That's roughly 125 million players per person who works on the game. It's proven to be so popular that the studio decided to cancel a sequel that was in the works and just put all its effort into improving the original. It even caught the attention of sitting congresswoman Alexandria Ocasio-Cortez, who livestreamed herself playing it to try to encourage people to vote, with an audience on Twitch that peaked at over 400 thousand viewers.

In an email to The Verge, Carter Rogers, Principal Analyst at SuperData, said that the next-most popular game in terms of monthly active users only clocked in at 300 million. Rogers notes that Nielsen arrives at its figures through a mix of "point-of-sale and event data from publishers, developers and payment service providers." Among Us' release on the Nintendo Switch was recent enough that it didn't have an appreciable impact on the game's total numbers in Nielsen's analysis.