I’m in the same boat, and I have been for a loooong time. It’s awesome, because, half the time, I see a game get super cheap, and I’m like, I’ve been waiting for this moment for 5 years (eg, Skyrim.) Then, the other half the time, some amazing game will just fly by my head and I won’t even notice, like, huh, wtf is this, $5 and like 50,000 YouTube videos about it…? (Eg, Just Cause 2.)

I put hundreds of hours into both Skyrim and JC2, for a total of like $10.

I just wrote like a 10 page response to another comment on that same post I made so I don’t think I have the energy to go too deep on this - so, to keep it short:

1. I was just rebutting that person’s claim that a car and a digital object have the same relationship to value, and they don’t; physicality requires resources that “digitality” doesn’t.

2. I feel like you might’ve agreed with me in the second part? Or, if not, I think you managed to destabilize the entire data economy in like 2 sentences, so, fuck yeah.

First off, I was specifically addressing your concern about the car & it’s physicality. Value of physical objects is directly related to the scarcity of the resources; digital content pricing is skeuomorphic (sp?) at best and absolute bullshit at worst.

Surely the sale of that copy of the movie has value

Secondly (and thirdly in a sec), this is the fundamental misapprehension that surrounds piracy. Each instance of piracy does not mean one lost sale. In terms of music (I read a study about music piracy a few years ago), this is rarely the case, and in fact, it was the opposite: the study found that the albums that were pirated more resulted in more sales, since the album’s reach was extended.

Thirdly, one of the core issues with the entertainment industry at the moment is that the streaming services have no way to gauge the draw of a specific show, movie, or song, since subscribers just don’t approach their subscription that way - you don’t subscribe to Spotify because your want to hear Virtual Cold by Polvo; you subscribe because you want to have access to their entire collection, as well as all the other awesome 90s noise/math rock - even though, let’s be honest, you really just listen to Virtual Cold over and over.

As a result of this clusterfuck, streaming services can’t correctly apportion payment to their content - they do an elaborate split of the profits. So - the best way for the “content providers” (ie copyright holders) to increase profits is to reduce the amount of content on the streaming service - so the profits are spread over fewer titles.

This is massively hurting the production companies - please note none of these fuckers are getting any sympathy from me, this is just an explanation - they’re having a hard time finding a balance between how much they can spend given that half of their productions’ profits are pennies. (Oops, forgot one element: because of streaming tech, no one buys films in tape or DVD or whatever - which was half of a film’s profit.) Do they make a bunch of huge budget action movie sequels that fill the theater seats? Or do they make smaller-budget films with smaller profit margins?

It’s a shitty situation, and I don’t know what the answer is - but I know that the answer isn’t whatever the fuck this is. And, until they figure their shit out, I’m just going to step outside the market for a bit.

I’m not living in some dream world where piracy doesn’t reduce profits. I know that the underground bands that I like are usually supportive of piracy because it helps them more than it hurts - and when it comes to film and TV, when those companies complain about piracy , it’s just like those bullshit shoplifting claims - attempts to turn their “line not go up” on poor people. Piracy is a grain of sand in the Sahara - they have way bigger problems than that - though I do think increased piracy metrics might help encourage them in the right direction.

Anyway, if you got this far, I appreciate your time.

It’s got nothing to do with whether it’s physical. Cars are different from movies because the movie can be reproduced infinitely without resource cost (or, very minimal). If you steal a rental car, they have to buy a new one. If you pirate a movie, they haven’t lost anything.

I’m not sure if this is what that person meant, but, usually it’s on the original development team to handle outreach and building the identity of the software - in Lemmy’s case, they have a bit of a not-great reputation… Even if they had the reach, that reputation hurts.

Having Mozilla - or any top tier foss-friendly company - kinda take the reins a bit would probably be good.