RoseLegion wrote...
Talosred wrote...
See the thing is I never understood how DRM was meant to solve the software pirate problem, more and more things like this makes me thing it was a cover to just let some big corps put software to spy and data mine for their products.Customz wrote...
Only now are businesses starting to catch up with pirates' "distribution network". Before that piracy was the way to go, even if you wanted to pay you couldn't. Companies tried solving this with DRM, and they created the pirates that do it just to get rid of the DRM, with legitimate customers actually cracking their bought games to avoid all the bloatware and restrictions. Look at Spore or AC2.
On the whole it seems that gaming studios are facing something similar to what record studios started really feeling the bite of a few years back, technology allows some newer players into the market in ways that wouldn't have been possible a few years back. However I think gaming studious are a bit more buffered in than their music counterparts in that it is easier to put together a band (just based on number of people in an average group) than it is to put together a development team (again based on warm bodies in the room).
gamer friends to cooperate and/or compete in games the service is putting up artificial barriers within groups of gamers thus limiting/removing some avenues of social interaction.
It is a changing market, but a rich one. While piracy may be a factor, based on the EULA and EA's actions, they seemto be more concerned about 2nd hand sales. The special editions, collectors editions, DLC are things that fans want and are willing to pay for and there's no end to them for most publishers.
I think it's mostly about the corporate mind set of control. Just look at the EULA, TOS, Privacy Policy and now even SOPA. And in many countries, the corporations have a strong political 'connection' that results in laws favoring corporations over consumers. Consider that at one time, reviewers were able to provide reviews before the product hit retail or digital download. Why do so many games have software locks preventing them from being used prior to 'opening' day? Reviewers are under strict NDAs and can't pubish their reviews until 'day 1.' And something I'm just noticing is the disparity between the professional reviews and reviews by customers--that all too often the professional reviewers rarely mention any of the problems that users have or just gloss over it--as if they are getting a different version of the game than most people do or won't say anything negative that might affect a person decision to purchase.
Then there's the reviews and the ratings. I've read quite a few articles on rating numbers the last few days; here's one:
Firstly, a games publisher’s entire reason for being is to promote and sell video games. Once you accept this, all of the behaviour you see surrounding reviews from journalist, developer and publisher perspectives becomes crystal clear.
Secondly, publishers will do anything they possibly can to counter the cancellation of pre-orders. Pre-orders are vital for the success of any bigger game these days, before word of mouth and any negative reviews have the potential chance to stop people buying it in the weeks following release.
And thirdly, we have the continuing presence of Metacritic as a metric for creative success.
www.vg247.com/2011/11/15/the-great-review-debate-can-we-find-our-way-back/
Another factor I rarely see anyone talking about, is 'competition.' It's a highly competative market with big money. Why do these games generally sell within the same price bracket, regardless of publisher or platform (other than indie games)?
These game producers/publishers often get good tax breaks (Canada and the US), so they aren't hurting from that aspect:
www.nytimes.com/2011/09/11/technology/rich-tax-breaks-bolster-video-game-makers.html
Companies like Ubisoft and Electronic Arts will exploit our tax breaks
for as long as it serves them. When developing workforces in, say,
Bangalore train enough skilled code-monkeys to undercut local coders,
the jobs will quickly migrate to India, leaving little of the creative
economy behind.
www2.macleans.ca/2011/09/13/grand-theft-tax-break/
Yet I don't deny them what they are charging for the games and some of the DLC. But why should I pay for Origins, something I don't want and has nothing to do with the game I want to play?
Modifié par CenturyCrow, 20 novembre 2011 - 06:24 .




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