Heads up, I'm opening shop soon! I got a few pieces of everything so my stock will be pretty limited. If there is enough interest, I might open preorders on anything that runs out.
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When 87% of Games Are "Missing," Is Piracy Still a Crime?
The cult classic game No One Lives Forever (NOLF) is a masterpiece of its era ... and completely unavailable for legitimate purchase. This isn't due to technical failure, but a complex, unresolved ownership dispute involving major corporate giants: Microsoft, Disney, and Warner Bros. None of these entities are motivated to spend the money or legal effort to sort out the rights.
When Nightdive Studios (known for game remasters) offered to take on the work, the corporate response was a perfect illustration of copyright dysfunction. They admitted they couldn't find the original contracts but threatened to sue Nightdive anyway if they proceeded. This leaves fans with only one option: downloading the game as abandonware.
A Crisis of Legitimacy: Why Should We Pay?
The availability of NOLF forces a critical question: Why does "legitimacy" depend on us giving money to corporate behemoths who refuse to even make their ownership known? When they use copyright to restrict the marketplace, why should we care?
As Valve founder Gabe Newell once famously said:
“We think there is a fundamental misconception about piracy. Piracy is almost always a service problem and not a pricing problem…"
Newell's point is profound. If the legal provider makes the product impossible to buy, then the "pirate’s service is more valuable." When corporations fail to provide the service of sale, the moral obligation to "buy" digital data evaporates. The term "victimless crime" does not apply when the alleged victims are the perpetrators of cultural hoarding.
The Corporate Lock-Up: 87% Missing
The NOLF tragedy is not an isolated incident; it’s systemic. The problem is simple: the marketplace no longer aligns with the public interest.
A recent study by the Video Game History Foundation, "87% Missing: the Disappearance of Classic Video Games," found that only 13 percent of classic games published in the U.S. are currently in release and available for legal purchase. The figure drops to under three percent for games released before 1985.
This hoarding affects all media: the initial success of Netflix in reducing piracy was reversed the moment major production companies fractured the streaming market, demanding higher prices for incomplete content libraries. Content is now disappearing from services entirely (like Future Man Season 3 or Close Enough being delisted), reinforcing the idea that digital purchase is an illusion and that possession is temporary.
Copyright Misuse: The Anti-Competitive Hoard
This widespread corporate behavior is the definition of Copyright Misuse—the use of intellectual property rights as an anti-competitive tool. This action directly contradicts the stated purpose of copyright: "To promote the Progress of Science and useful Arts."
The process is clear:
Hoarding: A creator sells the copyright to a major company.
Restriction: The new rights holder has no intention of creating sequels or remasters, but uses the copyright to prevent the original creator or third parties from doing so.
Motivation: This restriction pumps up the value of their existing, unrelated works and eliminates potential market competition.
In the NOLF case, the threat of an uncertain lawsuit is being used to prevent a beloved game from re-entering the market, making the property effectively useless to everyone in a state of "licensing hell." This is the exact opposite of the limited, temporary monopoly originally intended to encourage creation.
Conclusion: Stop Waiting for Legislators
The current copyright system, heavily manipulated by entities like Disney to extend terms far beyond any reasonable measure, has betrayed its original purpose of protecting creators. It now primarily serves to empower corporate interests and suppress market competition.
We should not wait for out-of-touch legislators to enact the needed reform—or the ultimate reform, abolition. As consumers, our moral compass should align with access, preservation, and creation. When corporations weaponize copyright to prevent cultural works from reaching the public, downloading those works is not a crime; it is a moral reaction to a broken system.
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I was cleaning up the other day and found a box of old boxes.
The actual games are stored in a CD rack with the computer that can play them. I often bought games based purely on the box and I think these Y2K icons show why.
#the amazing digital circus
#photography
#coquette
#love and deepspace
#bloodymary
