That does make sense considering every other developed country has free healthcare and literally 100% of their young men spend every waking hour playing video games.
Friendly reminder: A “DRM-Free” game is only as preserved as the hard drive space you dedicate to it. If GoG goes down tomorrow then you are looking for torrents, same as everyone else.
That said: GoG has been doing this basically since year one (I want to say they lost and regained Interplay’s library like five times?). On the one hand, I love that I get that “hey, buy it now or never. Here is a discount code” warning. On the other hand… this feels like I would be calling it out as manipulative FOMO bullshit were it any other company.
Although… it is a pretty safe bet that MS aren’t interested in going back to GoG until the next time their online ecosystem collapses. So probably a “reasonable” bit of FOMO for those who love the SP campaigns of these games.
Short of suing me for it (after finding out who I am and making sure I own the games), how would they do that for non-DRM games whose installer lives on my hard drive and that I can install whenever I want, wherever I want?
Is the “everything is a rental and you use it on sufferance until we say so” bullshit so ingrained now that people are no longer able to conceive of other ways for things to work?
Games are constantly pulled from the Steam store, but that doesn’t result in owners losing access to the game, GOG is no different. The only thing that will happen is they stop selling the game, it’s standard practice.
GOG also offer offline installers that would be impossible for even GOG to take away from you.
There are differences with buisness models. Steam sells a license to use a software. This license can be revoked. GOG sells you a copy that you can download and run any time later without needing it. They can’t take that away from you.
I’m talking about the content on the store. If you don’t download it, then they can remove it and it’ll be gone, regardless of if you purchased it already. That said, they can still do some shady shit with content you physically have too. Sony once put a root kit on their CDs that would brick people’s computers if they tried to rip them to the hard drive.
It will be removed from sale on 13 of December, but everyone who already bought it will continue to be able to download it from GOG indefinitely. Furthermore, GOG has stated their commitment to ensure the game remains compatible with newer computer and operating systems. That’s what the preservation project mentioned in the post is about.
I don’t think so. On my screen I see that post I responded to said this:
The game will be removed on 13. December?
So in my post I tried to explain that the games will still be available to download from GOG, but it will no longer be purchasable. Different people mean different things when they say “removed from GOG”, so I thought this was good to clarify.
It wasn’t really a question in that sense. What I meant by that sentence is that the game is already planned to be removed (from sale), so Blizzard suing GOG wouldn’t make much sense. However that doesn’t mean that GOG/Blizzard can just take the game away from those who already purchased it.
A DRM free store that’s run by the CD Projekt Red guys. It focuses mainly on older games (Good Old Games) but it also got modern DRM free games such as Baldurs Gate 3.
If you’re buying an older game, it’s likely a better option than whatever steam offers as GOG will also try to fix old games that are broken on modern systems.
Yeah normally I would feel the same way about this FOMO style of marketing but normally in that case it’s the company selling it deciding to like remove it from sale to create the FOMO need. In the case it’s another company basically forcing this decision on them so I don’t think it’s bad to let people buy it for cheaper while they still can.
On the other hand… this feels like I would be calling it out as manipulative FOMO bullshit were it any other company.
While I hesitate to type this as it might be perceived as viewing a corporation as a friend, the intent matters, and GOG has a different history than the majority of FOMO abusing game companies. Did they identify that this is probably an opportunity to push some sales? Sure, probably. But I am chill permitting them that right when they’re visibly working to remove FOMO as a commercial strategy.
Say it with me kids: Corporations are NEVER your friends. At best you have mutual interests, for a time.
Just look back to everyone who was all in on Google because “Do no evil” and “They aren’t Apple” and so forth. Unity when they were the underdog relative to Unreal. Reddit when they were the “counter culture” social media. And so forth.
I like GoG a lot and have since they first launched. I also remember the French Monk Incident and so forth.
The underdog is often the one that is most pro-consumer, since that is in their business interest. As soon as the take the lead, the doors to enshittyfication open, because business shifts from getting new customers to not letting them leave. (Of course there are exceptions, but this is the case broadly)
This is true. But things aren’t black and white, there are degrees. For example, there is a big difference between private corporations, and publicly listed ones. The former at least allows for possible decency.
A “DRM-Free” game is only as preserved as the hard drive space you dedicate to it.
You mean, just like any pre digital purchasing game that you own on disks? Or similar to any physical object you ever bought (hard drive space / shelf space), for that matter?
They’re preserving it as much as they’re able to without being a government funded museum.
So we are giving participation awards? GoG use digital preservation as a marketing point. They aren’t doing that. And they are arguably making for a false sense of security (some might go even farther…) when people think that buying a game from a major dev and European publisher is digital preservation.
How would you feel if Crunchyroll started arguing they were the good guys because they were releasing Witch from Mercury for 100 USD?
Now for the fun part!
Or similar to any physical object you ever bought (hard drive space / shelf space), for that matter?
Yeah. As in it is “preserved” up until someone does a cross country move or merges their life with a partner who doesn’t see why you need to have every single Blizzard Battle Chest on a giant shelf in the living room.
You mean, just like any pre digital purchasing game that you own on disks?
Yes. Because bit rot is a thing and people need to be aware of that and actually preserve that data. Hmm, I wonder who could help with that…
They’re preserving it as much as they’re able to without being a government funded museum.
Good news. You don’t have to be a government funded museum. In fact, governments are kind of an active threat to these because they are in a REALLY grey area legally. And publishers (like CD Projekt…) tend to go after them both legally and not legally.
I very much disagree that just having a copy of a game is games preservation but it is part of it. And orgs like The Internet Archive are preserving both the media itself AND the media and culture about said media. And they and their associates put the legwork in to reach out to people who have those big boxes or scratched up discs and preserve things BEFORE it is time to make room for the new baby. And they don’t have fancy deals with publishers to help market for donations. They have to ask.
Are you blaming them for not preserving things more than actual physical objects that you bought are preserved in your house? The whole root of the matter was people complaining about companies obsoleting or taking away games they paid for. What GOG is doing counters just that. It is now once again in your hands and your hands only to preserve and maintain your property, and if the data gets corrupted, you only have time, physics and yourself to blame.
I couldn’t care less about anybody creating some kind of eternal video game archive for archaeologists of the post apocalyptic world to find. I care about if I will still be able to play the games I paid money for in 30 years, provided I keep the data and hardware. How would that last part be the store’s responsibility?
I “blame” them for marketing themselves as a “Preservation Program” when they really aren’t doing anything more than the other stores (in that regard. They are doing amazing work in modernizing some titles… which is arguably not preservation either but that is a different mess).
It’s not McDonald’s responsibility to store large amounts of data either*. So does that mean Ronny Mac should be talking about how buying a twenty dollar Big Mac is preserving video games?
*: also… it kind of IS GoG’s responsibility in this case but that only lasts until the company/site is shuttered. Which is another issue with GoG being about “preservation” when their first responsibility is to make money for CDP.
But the average steam library (from just asking chatgpt because i am lazy) is 30-100 games for a “normal” user and 200-300 games for an “enthusiast”. Assuming 10 GB per game on average (which is woefully small these days) and you are expecting people to spend 1-3 TB of storage on just their game installers alone. AND that is assuming none of those installers get updates and people need to figure out which ones (most of us who lived through The French Monk incident can attest to that).
So what happens is “oh, someone else will back it up” and so forth. And it means EVERYONE is grabbing torrents for Spec Ops The Line and not just the people who didn’t think to buy a copy while they could.
Lawsuits for what? They never promised any customer that they would immediately deliver a working end product. As far as I can make out, they offer early access to an in-development product, with your purchase going toward funding development. It’s more akin to a donation with strings (access to the product).
I’ve literally never paid for Star Citizen. Not sure how I’m supposed to be a sweaty fanboy…
It’s a large scoped game, and from what I’ve seen, they’ve slowly been turning it into an incredibly feature-filled game that goes beyond the scope of what most other games deliver.
Lmao because morons like you keep calling it a scam despite it making massive improvements. They could have cut and run 40 million dollars ago. You just want something to hate on and it’s genuinely pathetic.
You want an actual scam game to bitch and moan about? Go winge about The Day Before. That one actually took the money then shut down their studio like proper scammers. Don’t see them sticking it out while crybabies write up shit like you every 4 months when they get bored.
I’m sick of literal children saying “Don’t release the game if it’s not done! We’re tired of buggy messes!” then a week later saying shit like “Wow this game is still in development? They should release it already wtf.”
You gonna join the losers that made death threats to the Cyberpunk 2077 team to release their game early? Fuck off. The only people still crying about Star Citizen are the ones that bought a ship to find out their garbage PC can’t even run the game or worse - they’re console owners.
I own an Xbox and have zero interest in playing Star Citizen. Still gonna tell everyone it’s a scam and all your bitching can’t change a thing about it lol
My hardware is twice as powerful as anything that existed when the game was supposed to release. Still runs like dogshit. I log in once a year to see if the game is still trash. The game is still trash. It’s not a literal scam, but it might as well be because Chris Roberts hasn’t been able to actually complete a game since Wing Commander. Which I loved, and unfortunately that spurred me to flush $40 in the toilet.
Almost like it was being developed not for the day it began development but for the future when they intend to release it. Almost like optimizations are the last stage in development.
You’re a fucking moron just blabbering about shit you don’t understand and I’m glad you can’t do anything but whine and piss yourself about how your $40 hasn’t given you the best game your little brain could conjure up. It’s been a decade. Grow the fuck up.
I did and it was as worthless as yours. It set out to have an extremely wide scope. It’s not feature creep if it’s intended from the fucking beginning.
Considering the number of NMS updates that are just back-ported features that were created for Light No Fire, I suspect the game loop will be pretty much the same as what we already have in NMS
The $150 isn’t for the new game mode. People that paid $150 were told they’d get all DLC. The devs are saying this isn’t DLC and these folks will get it for free once the game is out of early access. People that paid $250 can play this now. People that paid any more will have some level of discount to purchase access to this mode.
I think $55 total? $35 for my initial package and I spent $20 a few years ago for a cooler starter ship because I was enjoying the game and wanted to support development. I think the $35 package is now $45 – I bought in on the original Kickstarter – but that price gets you full access to the game and all the ships/hangars/etc… you just don’t start with them, and instead have to earn in-game currency to buy (or rent) them. I wouldn’t want a super expensive starter ship anyway, it skips too much of the early game progression.
My brother plays games with in app purchases and he claims to know people who have spent $100K on their profiles. I think building a fire using the cash would be less wasteful
I play hearthstone and spend more than that every 3 months to get a complete set of the expansion (well actually now that I think about it, it’s about $150 every three months or so).
I play a lot so my value to time ratio is pretty good but yeah…I don’t really buy any other games.
Patents are not intellectual property and they are regulated by the patent office. Intellectual property is not regulated and cannot be blanket dismissed.
I don't get any ads (Fennec + uBlock), but half into the article, a newsletter pop up showed up and the website scrolled back to the top. I closed the website immediately
The irony is that if we didn’t have the tracking scripts blocked then they might actually receive the metrics about how we close their website as soon as the newsletter popup occurs, leading them to fix or remove it. Probably not though.
EDIT: If it’s true that Valve is also refusing to sell games that are sold for a lower price in other stores where steam keys are not being sold then I think there’s definitely a case here. I didn’t understand that was their policy but if so it sucks and I take back anything good I said about them being permissive. Thanks to this comment for finding the exact language in the lawsuit that alleges this.
I’d be interested to see what Wolfire’s case is, if there’s more to it that I don’t know about I’d love to understand, but if the article is characterising their case accurately…
claiming that Valve suppresses competition in the PC gaming market through the dominance of Steam, while using it to extract “an extraordinarily high cut from nearly every sale that passes through its store.”
…then I don’t think this will work out because Valve hasn’t engaged in monopolistic behaviour.
This is mainly because of their extremely permissive approach to game keys. The way it works is, a developer can generate as many keys as they want, give them out for free, sell them on other stores or their own site, for any discount, whatever, and Steam will honour those keys and serve up the data to all customers no questions asked. The only real stipulation for all of this is that the game must also be available for sale on the Steam storefront where a 30% cut is taken for any sale. That’s it.
Whilst they might theoretically have a monopoly based on market share, as long as they continue to allow other parties to trade in their keys, they aren’t suppressing competition. I think this policy is largely responsible for the existence of storefronts like Humble, Fanatical, Green Man Gaming and quite a number of others. If they changed this policy or started to enshittify things, the game distribution landscape would change overnight. The reason they haven’t enshittified for so long is probably because they don’t have public shareholders.
To be clear I’m against capitalism and capitalists, even the non-publicly-traded non-corporate type like Valve. I am in fact a bit embarrassed of my take on reddit about 7 or 8 years ago that they were special because they were “private and not public”. Ew, I mean even if Gabe is some special perfect unicorn billionaire that would never do any wrong, when he’s gone Valve will go to someone who might cave to the temptation to go public. I honestly think copyright in general should be abolished. As long as copyright exists I’d love to see better laws around digital copies that allow people to truly own and trade their copies for instance, and not just perpetually rent them. I just don’t see this case achieving much.
In one sentence, you’ve already demonstrated that you don’t understand how artists subsist at all. You’ve also confused the word “incentive” with “motivation”.
Look, I understand that money isn’t the primary incentive for (hopefully all) artists. But I don’t think a system where you effectively cannot make a living as a full-time artist is beneficial for society either. Since you’re an artist, can I ask how you subsist without an alternative source of income?
Commissions don’t give a damn about copyright. The end product is made specifically to please one person and reproductions are already worthless, since only Jimbo wants an impressionist picture of Blue Eyes White Dragon wearing a tutu. Jimbo ends up happy, since he got his picture, I end up happy, as Jimbo pays me for the time it took to paint it, and anyone else that manages to copy it can be happy as well.
I’m happy that you’re able to work on commission, but with all due respect, your logic is somewhat specific to your chosen medium. Various other forms of art—novels come to mind—would not be so unaffected.
Not only would they, they already are - that’s what crowd funding like Patreon is for, and it’s also how it gets used. There are hundreds of thousands of sites sharing “copyrighted” material produced for supporters, and yet no artist bothers going after them, because it’s irrelevant. The people who want that content enough to pay for it do so, anyone else is just tagging along for the ride.
that’s what crowd funding like Patreon is for, and it’s also how it gets used.
The vast majority of books are not crowdfunded lmao
There are hundreds of thousands of sites sharing “copyrighted” material produced for supporters, and yet no artist bothers going after them, because it’s irrelevant.
The real advantage of copyright to authors is not to prevent any and all unauthorized reproduction of their works, but rather to distinguish genuine reproductions in the marketplace. Authors don’t give a fuck about free online “libraries”, but you best believe shit goes down the second bootleg copies appear on shelves at B&N or on the Kindle Store. Consumers expect purchases made in legal markets to benefit the owner (ideally the creator) of the work.
For the record, I don’t particularly like the concept of copyright, and I really don’t like current copyright laws. My only concern regarding the complete destruction of copyright is the immense difficulty in determining the creator of the work that it would obviously create. There is absolutely no obligation to provide attribution for public domain works. You can even claim to be the creator yourself, if you wish.
I think probably the obligation, or rather, advantage, of attributing original creators for public domain works, is: how else will I find more of this work that I like? It would probably also still be frowned upon to just take a work wholesale and post it without crediting the creator, on the basis that it makes the creator harder to find, and makes work that you like harder to find. Whenever somebody ends up trying to pass off something without the author’s name, there’s usually someone close behind asking who did this, tracing the lineages of the media.
Agreed, there are clear advantages to giving credit when both parties are acting in good faith. There is nothing stopping me from claiming that I wrote Macbeth and asking for donations on my Patreon so that I can write Macbeth 2, save for maybe Patreon’s ToS (I haven’t read it). In the absence of all copyright law, I could do that with any work, including ones published this morning by an artist struggling to get by.
well yeah, my point is more that with macbeth, nobody would believe you, you’d obviously be full of shit. that might not be the case with artists struggling to get by, but I don’t really see that as being fixed by the current system, or really, by any legal mechanism, unfortunately. in the current system, struggling artists get sacked by that shit all the time when people steal their art and paste it to merch on redbubble, and can make money basically for free. bigger corps can just steal shit basically full throttle, if not in actuality, than in likeness, and, through monopolization of the mechanisms of distribution, like with music. the struggling artist becomes the exploited artist. streaming services become competitors on the basis of content rather than the features of their platform.
I appreciate the sentiment, and small-time artists do get way too much shit, but you are somewhat underrepresenting the mechanisms we have in place. YouTube holds the ad revenue generated by disputed content in escrow until the dispute is resolved. DMCA requests, as much as I don’t like them, are rather effective in this day and age.
bigger corps can just steal shit basically full throttle, if not in actuality, than in likeness, and, through monopolization of the mechanisms of distribution, like with music.
In this particular context big corporations have to be the most careful because they have the most to lose. Remember the Obama “HOPE” ad? This thing? All of these were serious Ws for relatively unknown photographers.
I mean, if we’re sort of going by DMCA requests, right, there’s upsides, but there’s also downsides. They get abused all the time, and there’s not a clear example in the public consciousness as to what constitutes fair use, so they can even be misused in good faith. Larger corporations can also have bots, or armies of hired outsourced cheap labor (usually in combination with each other) handing out youtube copyright claims left and right. The next step of the youtube claims system, specifically, is that you have to go to court, if you want to contest the claim, and court usually ends up in favor of the larger parties, either because they have the capability to have an out of court settlement, or just because they can hire the best lawyers, and it’s relatively hard for most artists to fund what might be a protracted legal battle. I wonder whether or not the effect is that it’s overall to the benefit, or not. Are these examples you’ve provided, are they representative, or are they examples of survivorship bias?
I dunno, I don’t have access to the numbers on that one, and it’s kind of hard to take artists at their word, because the plural of anecdote isn’t data, and because lots of artists don’t inhabit that legal grey space of copyright infringement, either out of just a lack of desire, or out of a self-preservation instinct. Then plenty of artists are also woefully misinformed people that blame the copyright-infringing artist for their copyright-infringing art. I think I’d probably want to prod a copyright lawyer on their take, as they would tend to see more of the legal backend, the enforcement, but then, there’s a little bit of a conflict of interest there.
I also think that on the basis of just like, moral arguments against copyright, we could make the argument, right, that the obama hope ad was extremely popular because of the circumstances around which it arose, rather than because of the specific photograph used. i.e. it wouldn’t be as popular if not for being a ripoff of a photo that was commissioned from some guy and then pumped out and thoroughly marketed and memeified. Sort of a similar argument to how piracy doesn’t really transfer over to sales, that there’s not an equivalent exchange going on there. The sales of the copy, or, the sales of the modified version, don’t transfer to the original, is the idea. But then, it’s kind of an open, hard to answer question, because it’s pretty contextual and it’s hard to read in hindsight. If the sales do transfer over to the original, if we get rid of the copy, then I think that crediting the original artist is probably the best thing you can do, because that drives more attention to the original, if the original is what people really wanted. That’s sort of like, a limiting mechanism for how popular a thing might get on the merit of something else, as I see it. You could legally enforce that, and I think it would probably be a pretty good move, but you also kind of end up swamping yourself with the same problems that any legal enforcement mechanism will have, of being heavy-handed, grey, primarily only able to be wielded by the powerful, so I think you could also make the case that whatever the public would enforce would be fine.
It wouldn’t be a problem if you didn’t need to sell the things you make and could just give them away.
So copyright is only useful to protect your profits. There are many people who put effort into many things not because they expect to make money but because of the act of doing it.
Just something to think about, not really sure what point im trying to make
At least in the US, we have a lifetime for exclusive rights, at which point the material moves into the public domain. It really seems like a good system to me.
It’s not a good system to have it be 50 years past the death of the creator. Having access to content in public domain has historically caused art to flourish by serving as a base for creators to build off of. But for the past few decades companies have been plundering from public domain while not contributing anything back.
Our original copyright system in the US gave a baseline 17 years of copyright, with an additional 17 years extension that you could apply to. 34 years is a perfectly fair span of time to get value out of your creation because nobody is going to wait that long to get access to art they want. But it also ensured that the public domain continually had new content added that wasn’t completely antiquated. This is the system we should be pushing to return to.
Copyright is a tool that gives creators the ability to commercialize their work. That its spirit, nothing more.
That’s what we are told is the purpose because otherwise we wouldn’t accept its existence. In practice it doesn’t work that way. The persistent story is that artists get very little compensation whilst whichever large entity is acting as the middleman for their copyright - often owning it outright despite doing nothing to make it - takes the vast majority of the profit.
It is a tool of corporate control, nothing more. Without copyright there would be no way a middleman could insert themselves and ripoff artists, take their money, and compromise their work with financially-driven studio meddling.
And the idea that the “spirit” of copyright is for artists, that completely falls apart when you understand that modern copyright terms exist almost entirely to profit one company’s IP - Disney is just delaying the transfer of Mickey Mouse into the public domain. That’s why copyright is now lifetime +75 years, or something ridiculous like that. That is not for artists to be compensated. Mickey Mouse isn’t going to be unmade when that happens. If Disney can’t operate as a business with all the time and market share they’ve built then they should just go under. There’s no justification for it beyond corporate greed.
Also without copyright there couldn’t be monopolies like Disney buying Fox, Marvel and Star Wars. That is an absurd situation and should be an indication that antitrust is effectively gone.
And as for artists getting paid, we’re transitioning more and more to a patron model, where people are paid just to create, and release most of their work for free with some token level of patron interaction. You don’t need copyright for that.
They bargain their rights because they’re eager for a shot at money. It is very hard breakout without one, if that’s your goal.
It’s incredible that you can say this and not understand that this is exactly why the relationship is coercive and gets abused.
Plenty of horrible things are legal; that is not the measure of what is good. Our entire economic system exists to benefit those with money. It’s always been that way. Can you guess who it was that decided we should have a political system that gives power to people based on how much money they have? It wasn’t poor people. Capitalism inherently drives towards monopolies.
I’m so worried about what will happen to Steam when Gabe dies. I really hope he has a successor picked out who is as ideologically stringent. Otherwise I’m going to lose a huge library.
I was under the impression that the policy required a game’s price to be the same on all marketplaces, even if it’s not a steam key being purchased. I.e. a $60 game on steam must sell for $60 off-platform, including on the publisher’s own launcher.
I just went to double check my interpretation, but the case brief by Mason LLP’s site doesn’t really specify.
If it only applies to steam keys, as you say, then I agree they don’t really have a case since it’s Steam that must supply distribution and other services.
But, if the policy applies to independent marketplaces, then it should be obvious that it is anticompetitive. The price on every platform is driven up to compensate for Steam’s 30% fees, even if that particular platform doesn’t attempt to provide services equivalent to Steam.
According to a Valve quote from the complaint (p. 55), it applies to everything:
In response to one inquiry from a game publisher, in another example, Valve explained: “We basically see any selling of the game on PC, Steam key or not, as a part of the same shared PC market- so even if you weren’t using Steam keys, we’d just choose to stop selling a game if it was always running discounts of 75% off on one store but 50% off on ours. . . .”
Does it though? It seems like Valve is targetting the fact, that you can’t run the same game on a different platform for different amounts. So if Valve gets 30%, and some other store gets less, then they ask you to not run it cheaper. I.e. you can’t sell on both stores for $40, and then set a permanent -30% sale there.
Yes, that is problematic. Not by itself, but coupled with a large captive userbase it is. As an example:
Let’s say you want to start a game marketplace, which simply runs a storefront and content distribution—you specifically don’t want to run a workshop, friends network, video streaming, or peer multiplayer. Because you don’t offer these other services, you keep costs down, and can charge a 5% fee instead of a 30%.
With Steam’s policy, publishers may choose to:
List on your platform at $45, and forego the userbase of Steam
List on Steam and your platform at $60, and forego the reduced costs your platform could offer
Obviously, pricing is much more sophisticated than this. You’d have to account for change in sales volume and all. Point is, though, that publishers (and consumers!) cannot take advantage of alternative marketplaces that offer fewer services at lower cost.
The question the court has to answer is whether the userbase/market share captured by Steam causes choice (2) to be de-facto necessary for a game to succeed commercially. If so, then the policy would be the misuse of market dominance to stifle competition.
And I think Wolfire might be able to successfully argue that.
This… misses the point? Of course the can not sell on Steam. That’s always an option.
The antitrust aspect of all of this is that Steam is the de-facto marketplace, consumers are stubborn and habitual and aren’t as likely purchase games less-known platforms, and that a publisher opting not to sell on Steam might have a negative influence on the games success.
If that consumer inertia gives Steam an undue advantage that wouldn’t be present in a properly competitive market, then it there is an antitrust case to be made, full stop. At this point, the court will decide if the advantage is significant enough to warrant any action, so there’s really no need for us to argue further.
But I really don’t like seeing Wolfire—which is a great pro-consumer and pro-open-source studio—having their reputation tarnished just because Lemmyites have a knee-jerk reaction to bend over and take it from Valve just because Steam is a good platform.
As I said, no need for us to argue further. The lawsuit has grounds, even if you don’t understand why. Read articles and legal briefs on the matter if you would like to learn more.
What right does valve have to discriminate against devs and publishers who are selling their game on other platforms? They have to compete for their business, not punish them for having a game that is more successful on another store that gives a higher revenue cut to the dev and a lower price to the customer.
They usually sign an exclusivity deal in exchange for funding the development of the game. David is alleging that steam pressured him in ways not covered by steam ToS. It’s not like valve funded development of receiver.
I think the reason why valve is doing this is because people might buy a game at a higher price, either on Steam or another storefront, and then complain that it was cheaper on Steam or another storefront and start demanding refunds or demand that Valve reduce the game’s price on steam.
What do you do then?
If you don’t address it, you’re automatically seen as the asshole even if it was the developer’s choice.
You can give out refunds, which makes you look like the good guy, but that also looks bad to companies like Visa or PayPal (my understanding is that large numbers of refunds tend to look bad to payment processors, even if the refund was initiated from the company and not the consumer). Granted, Valve is a big enough company that they shouldn’t have issues with that kinda thing, especially since they already offer refunds, but my understanding is that it still doesn’t look good to payment processors and can make them upset.
You can ask the developer to reduce the price on steam, but what if the dev says no?
You can force the dev to reduce the price, but now you’re even more of an asshole.
You can lower the cost on your storefront and cover the difference yourself, but now you’re potentially losing money. That, if I’m not mistaken, is actually anti-competative from a legal standpoint.
You’re kinda screwed if you’re trying to be the good guy.
That’s not even getting into how bad it looks if it’s cheaper on steam than somewhere else when you have a marketshare as large as Valve’s.
This is kind of necessary. You could open a store just selling Steam keys. You get Steam’s software distribution, installed user base, networking for free and pay nothing to them. Steam is selling all of those services for a 30% cut. Since your overhead is $0, you can take just a 1% fee and still turn a profit because Valve is covering 99% of your costs.
Steam could disable keys or start charging fees for them. As long as they’re being this ridiculously generous and permitting publishers to have them for free, some limitation makes sense.
I’m dubious, though. There must be a provision for promotional pricing. I’ve definitely bought keys for less than Steam prices.
As I said, Steam would be in their rights to enforce that pricing policy for Steam keys, because they provide distribution and platform services for that product after it sells.
But as @Rose clarified, it applies to not just Steam keys, but any game copy sold and distributed by an independent platform. Steam should not have any legitimate claim to determining the pricing within another platform.
David said in a blog post that the suit is specifically alleging price fixing tactics for other platforms that aren’t key sellers, but sell the whole game. Whether that holds up in court - we will see.
He actually does know how to make good games, but the problems start as soon as he’s put in front of a camera.
Don’t have him going on TV and talking about the game. In fact make it a term of his employment that is not allowed to mention the game at all in any environment. Just take his phone off him basically. If he was just left alone to develop a game it would be fine. All common sense goes out the window as soon as he’s interviewed.
He knew how to make good games back in the day, he doesn’t any more or simply doesn’t care.
Masters of Albion seems to be largely based on his previous game, Legacy, which was a crypto/NFT scam (selling virtual land based on speculative pitch that the tokens would make mad real world money).
I tried Legacy for an hour (just out of curiosity), it’s shit. Almost feels like a low effort game to justify the pump and dump in-game land sale.
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