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Last time I’ll mention the piracy thing (for the forseable future.)

EA, of all people, has absolutely no excuse for not having their own digital delivery system up and running. Shit, that medium-sized developers aren’t doing this themselves is a fucking travesty as far as I’m concerned. Valve’s given everyone the ability to make their own Steam, if you’ll recall. It’d just take an extra guy to get it up and running, I’d imagine.

Often retailers (and even renters,) will break street dates. When this happens, retailers who haven’t broken the date contact the publisher, and say “So and so broke the date. Check it, because we’re going to as well. We can’t afford to lose all of our sales to them, because their math says they’ll come out ahead by breaking the rules.” The distributer/publisher then checks to confirm the story, and if this is true, they give the okay for everyone else to break the date as well (and often punish the initial violator.)

I just can’t be convinced that EA can’t publish games online. They’re a publisher. It’s what they’re supposed to do. What am I missing here? Hell, Microsoft and Sony should be doing this. The moment the ‘download date’ was proven broken, EA should have had Spore online on their EA Shop for everyone everywhere to download. That headline would’ve dwarfed the news about the cracked version available online. “Why bother pirating it,” gamers would ask “when I’ll probably end up buying it anyway? Go ahead and save the re-download time by buying it the first time, and have my friends already in my gamer list for auto-downloadig of their creatures.” Besides, I’m betting Valve games have a much lower rate of piracy than most PC games, and gamers are (by far and large) okay with Steam, now that the kinks have been worked out for a few years. And I’ve heared nothing but good things about Direct2Drive. Though, honestly, developers should be doing this for themselves.

I just can’t feel overly sorry for a developer getting hurt by a publisher forcing them to put anti-piracy tools in their game. It’s the bed of their own making, really. Last post I mentioned gamers downloading shareware off of BBS’; the original digital distribution. Well, it’s 2008 and developer distribution has never been easier (now bedroom coders don’t even have to physically mail disks to users.) Refusal to make self-publishing a priority, or even demanding the power in the developer-publisher relationship, gets developers treated like the lesser in the relationship, and that’s just a lessong they need to learn. I mean, Valve? They get it. If another developer can’t prioritize their publishing deals, then let them falter, and let them fail.

Though, the first person to use Steamworks to create an online publisher? That person will make some serious money.

Okay, done with that topic for the foreseeable future, enough armchair-CEOing over Riccitelo. Next up? MMO payment plans! Yay!

So, days before Spore hit store shelves, with its controversial DRM, it’s been cracked. Whoops.

To continue to harp on a previous point of mine, the Games Industry needs to figure out how to better commodify their art (that being ‘interaction’.) Gamers, moreso than any other group of media consumers, are technologically savvy. TV, film, music… Every other group’s lower savvy presents, relatively, a higher collective barrier for its consumers to partake in piracy and the likes. Gamers? We STARTED this shit by downloading shareware off of BBS’. Torrents are as easy as a TV remote, p2p is laughable, and even newsgroups are child’s play, to be honest. If you want to stop gamers from pirating your product, then you have to figure out a way to make games impiratable, (yes, I just created a word (at least in the English language.)) Good luck with that.

On the other hand, consider how many gamers have heard about Spore’s DRM and will now say “Eh, I’ll just pirate it.” I mean, the online component of downloading animals can be ‘gotten around’ by just downloading the thumbnails of pals’ creations anyway. It’s silly, how developers insist on shooting themselves in the foot like this.

(Or, my missive into the future of media, and the elimination of piracy.)

Recently indy dev Cliffski asked pirates why they refused to pay for games. This was his conclusion.

Thankfully he realized the problem with DRM; it only has to be cracked once, and then it’s pointless and only serves to bug legitimate users, so he’s dropping it. He also lowered some prices of his games to boot, so, win for consumers! (And hopefully this will help his longterm sales, and not just the short term because of the notoriety gained.)

But there’s an even bigger picture to look at, so let’s do that. Allow me to become a bit of a futurist here and share with you how I could see things happening…

Pirates win, content owners fail.
First, pirates win while content developers lose. That’s not hard to figure out, really. In fact, it’s starting right now as piracy becomes more and more rampant*. Content developers are realizing they can’t sue everyone and are creating better websites like Hulu to keep people from downloading and keeping them from making any money. To be frank, I firmly believe that eventually people will take the attitude that “bits should be copied freely,” and industries will soon scramble to find new ways to ensure they stay on top. They’ll fail. I expect them to go to commercial-driven content, but that’ll just piss people off when they can stream it for free from illegal sites* that will probably be far more user-friendly anyway, and media companies will be relegated to sideshow status at best.

Amateurs win, while professionals flounder.
Much like we’re seeing the beginnings of now, as Big Media struggles to find its place, actual artists (who are savvy) will thrive like never before. Musicians will spread their music freely, and sell out concerts with ease. They’ll sell audio recordings of the concert you just witnessed for cheap, and the bigger bands will even be able to sell you videos of the concert as you leave the venue. If you read this, you probably already know names like “Penny Arcade,” and “Jonathan Coulton,” but note that even Trent Reznor is giving away his music now. If Big Media can’t make this method work for them, expect to see ‘amateurs’ operate at the same level, if not bigger than ‘traditional’ artists.

New professionals win, consumers win.
Those artists, the indie ones? If ‘success’ is as easy as ‘making a living at your art,’ then let’s hope it becomes the norm. (Cross your fingers.) And here we come to the root of exactly how future media could work. Everyone will get the digital files for free. Any person can download and publish any movie, song, art, game, etc. at any time. (A definite win for consumers in my book.) Sure, donations are great, but musicians/performers/actors can charge for life performances (yes, I’m predicting a resurgence of live theatre,) and traditional artists could sell their canvases/sculptures/works. In fact, anyone can sell physical products, just look at the approach of some of these artists. But, what would be the meat and potatoes of games?

Games.
If games follow suit, then what will games offer that will keep them viable in the eye of gamers? What is the true essence of ‘art’ in games that makes it a notable difference from all other arts? Interaction. Gamers will be charged subscriptions to play in a world of premier dungeon masters. With all games made of open source, bare bones tech, Game Runners will create an experience that will build up their reputations amongst gamers as good, bad, dense, or grandiose. Just like musicians and directors have their own styles, so will Game Runners.

Yeah, this is the only way to get rid of pirates… Leave nothing for them to pirate.

*More people are born with piracy being the norm, bandwidth rises, latency falls, and advanced processing allows for greater compression. Given these things, in our lifetimes I expect we’ll see very high quality games streamed with relatively little caching (and of course high quality video/audio streamed with no problem.)