'Stop Killing Games - Revenge of Pirate Software'

The Act Man

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Pirate Software begins by denouncing the shutdown of servers and the removal of titles such as The Crew, Marvel's Avengers, or Dark Spore, clear examples of how publishers destroy games that users have already paid for. It points out that by linking critical functions to central servers and DRM, companies eliminate any possibility for the community to preserve, play, or study these works once official support disappears. The presenter explains that while copyright law allows for libraries and museums, the DMCA and EULAs technically block preservation, making piracy the only real recourse, involuntarily transformed into an act of cultural preservation.

Throughout the video, business practices that worsen the problem are listed: microtransactions that stop working as soon as APIs are shut down, expired music or sports brand licenses, and “ultimate” editions that become crippled when they lose their online functionality. The author emphasizes that these decisions are not due to insurmountable technical reasons; maintaining a small matchmaking server or releasing an offline patch would cost less than the marketing campaigns that drive initial sales. However, the strategy is to force players to migrate to sequels or service-based titles, multiplying revenue at the expense of the old catalog and the cultural heritage of the medium.

The video praises initiatives from the European Union and the U.S. Library of Congress that are studying exemptions to DRM for research purposes, but stresses that current concessions are insufficient. It proposes concrete measures: legally requiring the availability of offline modes once a game is removed from stores, allowing communities to host alternative servers through code licenses, and granting full rights for resale and digital repair. According to Pirate Software, these reforms would balance the market, curb planned obsolescence, and ensure that the historical and artistic value of video games is not left solely in the hands of corporate decisions.

In conclusion, players are encouraged to apply pressure: support organizations like the EFF, sign petitions, reject purchases that rely on ephemeral servers, and, when possible, choose DRM-free editions. Because every time a company 'kills' a game, it is not just a product that disappears, but a part of the collective memory of the interactive medium is erased. The final message is clear: stopping the destruction of games is not just a crusade for nostalgics, but a demand for fundamental rights for consumers and for global cultural preservation

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