The movement is two months in to a year-long campaign, and that’s just the EU. Ross Scott’s also likely pushing 40, if I had to guess. The clearest messaging of what they’re asking for is to prevent remote disabling of games, which is right in the petition.
Well, that also saves money on localization costs, when you’re selling to people across many different languages.
This is a completely different position than saying that it expects games to be forced to be updated forever, so I’m not sure why you said that unless you heard someone else summarizing it incorrectly, like Thor, and didn’t verify it yourself.
First off, this is not a piece of legislation. They’re not allowed to do that. They’re petitioning for legislation and stating the problem. More specificity is for parliament to decide.
Second, legislation like this is basically never retroactive. If it does apply to games that have already been made, there would be a grace period for actively supported games. There always is.
Third, Ubisoft sure seems to find it to be worth the effort for The Crew games they haven’t killed yet, as they’re staring down the barrel of this potential legislation. And if you’re building a game with this requirement in mind from the beginning, it’s substantially less work. This used to be how more or less all online games worked, until they found out that a dependence on their servers was potentially more lucrative.
It sure looks properly written to me, and I’m struggling to figure out how this person misinterpreted it.
No, that is not something the petition aims to do, stated clearly in their FAQ, and I don’t think I could arrive at that interpretation even without it. From the petition:
Specifically, the initiative seeks to prevent the remote disabling of videogames by the publishers, before providing reasonable means to continue functioning of said videogames without the involvement from the side of the publisher. The initiative does not seek to acquire ownership of said videogames, associated intellectual rights or monetization rights, neither does it expect the publisher to provide resources for the said videogame once they discontinue it while leaving it in a reasonably functional (playable) state.
And in the FAQ on the Stop Killing Games site:
Q: Aren’t you asking companies to support games forever? Isn’t that unrealistic?
A: No, we are not asking that at all. We are in favor of publishers ending support for a game whenever they choose. What we are asking for is that they implement an end-of-life plan to modify or patch the game so that it can run on customer systems with no further support from the company being necessary. We agree it is unrealistic to expect companies to support games indefinitely and do not advocate for that in any way. Additionally, there are already real-world examples of publishers ending support for online-only games in a responsible way, such as:
‘Gran Turismo Sport’ published by Sony
‘Knockout City’ published by Velan Studios
‘Mega Man X DiVE’ published by Capcom
‘Scrolls / Caller’s Bane’ published by Mojang AB
‘Duelyst’ published by Bandai Namco Entertainment
etc.
Kind of a bummer that this ended up basically being an ad for 2XKO, a game that functionally requires the installation of a rootkit in order to play.
Forcing companies to do what forever? The scope of what the petition can ask for is limited, and it’s up to EU parliament to find a solution. The problem statement is that you bought a game that can be remotely disabled. If you agree that that’s a problem, I’d encourage you to sign it.
If California can pass their law about what counts as “buying” a digital good, then I hope we can take that as motivation here in the US to try for similar. I wrote my representative about it (she’s an R, so she didn’t care), and I’ll see who I can write at the state level.
Even in the opening pitch, Ross acknowledges that things like this come in waves. The first wave was his call to action. The next ones, if we’re so lucky, will come from other influencers giving it a bump. And honestly, 1M is an absurd benchmark to clear. That’s one signature out of every 450 citizens. They need to know this campaign exists in the first place and care about it.
If I had to read documentation first, I wouldn’t be using Linux. We write software so we can automate things, so we should be able to automate away most of the troublesome parts until we’re just left with a useful device that does its job.
Put a space between the # and “Balatro”.
I thought I did a fairly good job of segmenting it so that it wasn’t a wall, but maybe next time.
#4: No early access games, except for games that were in early access and hit v1.0 this year. Even if it’s a great game this year, odds are it’ll be a better game when it’s done, so I made this thread to call out games that are done.
I can see that. I was pretty happy with my ending though, and I have a feeling there’s no way to make everyone happy. The game does let you know right at the beginning that the player character is no saint.
Arzette is a very specific joke for nerds like me who know too much about the history of video games. It’s designed to look and sound just like a Phillips CD-i Legend of Zelda game; a cursory glance at the credits seems to indicate that someone from Digital Foundry may have consulted on it to get it right. A friend of mine has a CD-i that he allowed me to play some time ago, and you have no idea how badly games like those play, especially on that awful controller. Fortunately, this game plays totally acceptably while still having a slight metroidvania angle to its 2D action platforming levels. It’s got a bit of a slow start, but after that, it doesn’t overstay its welcome, so if you’re in on the joke, you’ll likely have a good time.
If you liked The Case of the Golden Idol and want more of it ahead of the launch of its sequel, Duck Detective is a miniature version of that that’s suitable for children and still fun for adults. I won’t say it’s quite as good as Golden Idol, and it’s definitely not as long, but it’s priced accordingly, and it’s a good way to spend a weekend afternoon.
Penny’s Big Breakaway is a 3D platformer somewhere between Sonic the Hedgehog and Super Mario 3D Land, I suppose, though that’s not a perfectly accurate picture of it either, and it’s also got a lot of Tony Hawk’s Pro Skater DNA. You’ve got a yo-yo that you can use to attack, swing, or ride for mobility and speed. It’s very close to being one of my favorite platformers ever, but there’s just a bit too much jank around how the game handles certain edge cases with its physics system, and it can break the flow of an otherwise very good game. If you’re anything like me though, that won’t stop you from having a lot of fun with it.
This is a puzzle-driven metroidvania with a simple retro-inspired aesthetic that aims to teach you how to interact with it wordlessly, and it usually succeeds at it. I’m honestly not sure how to fill out the rest of this blurb without ruining the intended experience, but while I wasn’t this game’s biggest fan and wasn’t interested in digging into its secrets post-credits, I did enjoy my time with it.
I’ve played the Witcher games before, but this RPG is the most Polish game I’ve ever played, in a very good way. The RPG systems are fairly light, and the progression system is very atypical, but probably the best way to describe this is a narrative adventure game like Life is Strange but with a turn based combat system along the lines of what I understand Child of Light to be, where each action takes a certain amount of time, and it displays that order at the top. The combat is fun, and the RPG systems and branching paths offer some replayability, but I think the real star of the show here is that the story is just so different than basically any other game I can think of. It takes place in 1905 Warsaw, where national boundaries are constantly redrawn around an expanding Russian empire, what that means for the citizens and their politics, and how the superstitions of their day play into that.
Half of Halo 4 was the best Halo story. The other half of it was the worst Halo story.