I’m surprised I don’t see Alan Wake 2 as its own entry in the list so far.
I don’t like horror games, and I didn’t care that much for the first game, or even necessarily Control, but Alan Wake 2 was really impressive. Showcased the power of the format of video games for cinematic narrative in a way that raised the bar even higher than it’d been before, similar to how BG3 and TotK raised the bar in player choice and open ended game design.
Two: Actually, per Petrella v. Metro-Goldwyn-Mayer’s supreme court decision, damages are limited to 3 years prior to the suit being filed with no recovery for earlier infringements.
Bethesda is owned by Zenimax, and an officially licensed mod scene is completely different.
If you want to run the mods for Bethesda’s games, you need the retail software to do so.
I guarantee that if a group was creating a Morrowind remake that didn’t require owning some Bethesda core game that was being modded to achieve that, Zenimax’s lawyers would be quick to be on top of the issue.
It’s not like there’s not examples where Bethesda’s lawyers caused mods to be shut down where it involved redistribution of Bethesda game assets without needing to buy the game.
which are not the norm across the industry for how IP issues are handled…
Go ahead and cite whatever you think the ‘norm’ is then.
Where else do you see publishers turning a blind eye to unlicensed remakes of their games?
The difference isn’t Nintendo being more legal trigger happy, it’s that their stuff is way more often being used in unlicensed ways so they come up more often in stuff like this.
But there’s a ton of examples of the same being the ‘norm’:
Edit: Also, it’s a bit more complicated in terms of IP, but it is relevant to future works.
For example, fictional characters.
Let’s take Mickey Mouse as an example. Steamboat Willie is entering public domain, so the protections on the character as defined in that work is entering the public domain. But characterization of the figure in works still under copyright that have added unique details are still protected.
But the test for infringement of a fictional character is twofold. (1) Can the figure be copyrighted? (2) Is there infringement of unique characteristics?
That second part becomes much more difficult to enforce if you’ve been allowing millions of variations of your protected character when you initial work defining the character is no longer enforceable.
So if LoZ on the NES enters the public domain making ‘Ganon’ as a pig usable by people, but since that game there’s been tons of spinoffs by others having Ganon as a human before Nintendo had Ganon as depicted in OoT, then they’d have a much harder time enforcing copyright on Ganon being depicted as a human even if Ganon as a pig was no longer under copyright.
No lawyer is going to say “yeah, let 3rd parties use your IP willy nilly, I’m sure it will be fine and not bite us in the ass later on.”
For example:
Copyright protection is effectively never lost, unless explicitly given away or the copyright has expired. However, if you do not actively defend your copyright, there may be broader unauthorized uses than you would like. It is a good idea to pursue enforcement actions as soon as you discover misuse of your copyright protected material.
If you have experienced copyright infringement, you have the right to pursue a lawsuit. However, you only have a limited time frame during which to file a claim. This legal principle is called the “statute of limitations.” Ensuring that you file a claim to enforce your copyright within the statute of limitations is crucial. If you wait too long, you will lose the right to enforce your copyright and obtain your deserved damages.
So a fan project that you don’t enforce against for three years which eventually monetizes as competition without infringement trademarks would be a potential concern.
It’s less Nintendo and more shitty trademark and IP laws.
If you don’t aggressively go after anyone that is transgressing your IP, you can lose it.
IP really needs major and comprehensive reform. It’s not going to happen anytime soon as too much is built up around the status quo, but it really should be done.
The Rock, Paper review in particular seemed to resonate a lot with what I suspect I’d end up feeling when it talked about how glad the reviewer was to not have to keep playing the game any longer.
I don’t mind the core elements of Ubi’s design, but they’ve recently been cranking the dial on the repetition to 11 to the point I find myself exhausted by continuing to play their games to the end.
FC3 was the perfect amount of Ubisoft.
I was really hoping for something more like FC3 meets Avatar and not FC6/AC:Valhalla meets Avatar, which looking at the reviews is what they delivered.
Pretty sure Rockstar didn’t intentionally jump the gun screwing up their media partners on announcing a $1-2 billion media product in order to release it initially in potato quality on Twitter with “Buy BTC” superimposed on it.
Do you really think their media team announced a global release for the trailer on official channels a week ago, had it slated for tomorrow at 9am EST, and then intentionally left leaked their own trailer on Twitter in crap format with “Buy BTC” superimposed on it the day before, suddenly scrambling to release the official trailer but leaving media partners high and dry jumping the official date by less than 24 hours?
At a certain point, skepticism of skepticism is also warranted.
It’s almost unbelievable that the graphics are this good.
Rockstar always releases their first trailer a little under 2 years out from the planned release date, so 2025 was no surprise.
Also, they are one of the few developers who release the first trailer where it really looks like the end product, so I know it’s legit, and the hair indicates there’s FSR, so it really does seem like this is what we might see on release - but that’s still kind of mind blowing given the gap between this and what’s been out so far.