RockStar games are hoping to avoid the same outrage with the release of Grand Theft Auto IV on the PC platform, which also incorporates SecuROM technology, but at a far less restrictive level than that of Spore.
Then there are those motivated to get a torrent, a cheaper or simply the uncut version of a game that may have been banned or altered for sale in their own country. Countries such as Australia, which lack an R18+ classification for interactive entertainment, sometimes see games banned or adjusted for a lower classification. This in turn outrages some punters that turn to pirating or self importation to satisfy their needs for the ‘full’ version.
Usually though, it is a money thing, coupled with the view that nobody is really being hurt by a single copy going their way.
Whilst it would be easy for me to lecture and preach at this point, I have no basis too, since much of my gaming pleasure arrives in the form of review code and therefore I don’t feel the financial strain that others may in this area. But I am concerned this trend mirrors similar happenings in the music and movie trade.
Whilst music has embraced the digital delivery revolution, surviving with much of its artistic credibility intact, I wonder if the same could be said about the movie industry, which looks to be suffering from a contraction of new ideas and ground breaking titles. Instead, much of what we see on the big screen is a safe-bet for studios.
In the artistic endeavours of game developers the same trend could occur, if it hasn’t already, safe sequels to swell the coffers and please the shareholders, with less risk taken on new IP or different game-play directions.
This is understandable as pressure on a company’s bottom line increases directly in relationship with the perceived loss to piracy.
How can developers avoid piracy? The conclusion and answer is on page 4