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  • ✇Techdirt
  • Disney CFO Says Company ‘Earned’ Right To Relentless Price Hikes. Piracy Might Have Something To Say About That.Karl Bode
    Now that streaming subscriber growth has slowed, we’ve noted repeatedly how the streaming TV sector is falling into all of the bad habits that ultimately doomed traditional cable TV. That has involved chasing pointless “growth of growth’s sake” megamergers and imposing bottomless price hikes and new annoying restrictions — all while simultaneously cutting corners on product quality and staff in a bid to give Wall Street that sweet, impossible, unlimited, quarterly growth it demands. Executives a
     

Disney CFO Says Company ‘Earned’ Right To Relentless Price Hikes. Piracy Might Have Something To Say About That.

Od: Karl Bode
20. Srpen 2024 v 14:31

Now that streaming subscriber growth has slowed, we’ve noted repeatedly how the streaming TV sector is falling into all of the bad habits that ultimately doomed traditional cable TV.

That has involved chasing pointless “growth of growth’s sake” megamergers and imposing bottomless price hikes and new annoying restrictions — all while simultaneously cutting corners on product quality and staff in a bid to give Wall Street that sweet, impossible, unlimited, quarterly growth it demands.

Executives are not being particularly sensitive about it despite some hard lessons learned during the cord cutting years. On the heels of yet another recent price hike across Disney’s Disney+, Hulu, and ESPN streaming services (some as high as 25 percent), Disney CFO Hugh Johnston proudly declared that the company had “earned” the right to increasingly saddle consumers with price hikes:

“We do feel like we’ve earned that pricing in the marketplace, and we feel positively about that. With that will come scale benefits. The product improvements also should reduce churn and keep our consumers with us as they’re evaluating their options.”

We literally just went through this cycle to with traditional cable, yet the execs clearly haven’t learned a thing. When pressed during Disney’s earnings call on whether this might annoy subscribers, Disney CEO Bob Iger brushed aside those concerns:

“We’re not concerned. The goal is to grow engagement on the platform. And what I mean by that is obviously offering a wider variety of programming.”

The problem is the price hikes aren’t generally running parallel with service improvements. Prices are not only increasing; but product streaming catalogs are in many instances getting worse (see: both Marvel and Star Wars properties recent sag in quality and critical acclaim).

At the same time, users are facing more technical restrictions than ever in the forms of device restrictions or password sharing crackdowns. Staff are simultaneously being cut or asked to do more, with less.

Wall Street and the traditional business press laud this behavior because executives are simply looking to maximize shareholder value over the short term. The price hikes helped Disney streaming efforts reach slight profitability for the first time ever, helping convince execs that they’re somehow inherently owed massive profits now that they’ve staked out a beachhead in the streaming wars.

Of course nobody is owed anything. And there’s something these folks really don’t want to talk about: namely that, just like a traditional television industry destroyed by this exact same behavior by the extraction class, none of this is sustainable.

Wall Street’s need for improved quarterly returns at any cost inevitably leads to a sort of auto-cannibalization of product quality. You can’t deliver improved returns through subscriber growth anymore, so executives start looking at restrictions (fewer simultaneous streams, more ads, surcharges for streaming in 4K, etc.), layoffs, price hikes, production cuts, customer service cuts, and pointless, massive mergers that misdirect energy and attention away from improving product quality.

Financial deregulation has ensured there’s no real foundational interest (or financial incentive) in building lasting consumer trust, brand loyalty, or product quality. The focus is short term stock jumps and tax breaks, with the latter repercussions being somebody else’s problem (most immediately consumers and labor, but ultimately execs that have to come in later and restructure everything after the ship runs aground).

Customers might not balk at higher streaming prices immediately. For many (especially compared to traditional TV) streaming still provides a decent value proposition, and Iger was quick to insist they’re not seeing much churn yet in response to hikes. But this isn’t a cycle in which Wall Street can ever be truly satisfied. And streaming is on an accelerated timeline to what traditional cable experienced.

As you saw with traditional cable, product and brand degradation and continues until users ultimately flock to competing, more affordable options, which usually includes piracy. Piracy rates are already rising again in response to executive decisions, and executives seem poised and ready to blame everything but themselves for file sharing’s growing resurgence.

Skull and Bones’ Into the Dragon’s Wake kicks off a new season on August 22

18. Srpen 2024 v 00:00
Just when you finally got your pirate vessel fully insured, along comes a new ship and cannons to blow up your deductible. Yet look on the bright side of your sinking boat: You get a new Skull and Bones content update on August 22nd. Into the Dragon’s Wake is about to arrive in Ubisoft’s naval […]
  • ✇Buy Cheap PS4 Games BuyGames
  • Daymare 1998: A Nostalgic Homage to PlayStation-Era Survival Horror[email protected] (Unknown)
    Recapturing the Essence of Classic Survival Horror Daymare 1998 stands as a testament to the golden age of survival horror games, evoking the spirit of the original PlayStation era. The game pays homage to iconic titles that defined the genre, such as Resident Evil and Silent Hill. Its intention is clear: to transport players back to a time when eerie atmospheres, gripping narratives, and spine-chilling encounters were the hallmarks of gaming excellence. Striking the Right Chords, Yet Missing th
     

Daymare 1998: A Nostalgic Homage to PlayStation-Era Survival Horror

Recapturing the Essence of Classic Survival Horror

Daymare 1998 stands as a testament to the golden age of survival horror games, evoking the spirit of the original PlayStation era. The game pays homage to iconic titles that defined the genre, such as Resident Evil and Silent Hill. Its intention is clear: to transport players back to a time when eerie atmospheres, gripping narratives, and spine-chilling encounters were the hallmarks of gaming excellence.

Confronting a terrifying boss in Daymare 1998.

Striking the Right Chords, Yet Missing the Melody

While Daymare 1998 successfully hits certain nostalgic notes, it falls short of fully capturing the essence of its predecessors. The game shows promise and potential, but its execution leaves much to be desired. With further fine-tuning and optimization, it had the opportunity to become a standout addition to the survival horror genre. However, as it stands, Daymare 1998 remains a bittersweet experience, simultaneously triggering nostalgia while eliciting frustration.

Unveiling the Flaws within the Game

Daymare 1998's shortcomings are evident, hindering its ability to reach its full potential. The game's mechanics, while reminiscent of the classics, lack the refinement necessary to deliver a truly immersive experience. The controls, at times, feel clunky and unresponsive, detracting from the overall gameplay. Stepping into the world of 'Daymare 1998' is like entering a dark abyss of fear and adrenaline, where every step you take sends shivers down your spine, reminding you why you love to buy PS5 horror games that push the boundaries of terror. Additionally, the pacing and level design could benefit from further attention, as certain sections tend to drag on, impeding the player's engagement.

A Glimpse into the Promising Future

Despite its flaws, Daymare 1998 does offer glimmers of hope. The attention to detail in capturing the aesthetics of the original PlayStation era is commendable, immersing players in a familiar and atmospheric world. If you crave an adrenaline rush that transcends reality, 'Daymare 1998' is the ticket to a heart-pounding experience, one of the best PS5 games available. The narrative, though not groundbreaking, manages to keep players engaged, thanks to its nods to the beloved survival horror tropes of the past. With the right adjustments, the developers have the potential to transform this homage into a compelling and unforgettable experience.

A Game of Nostalgic Frustration

Daymare 1998 serves as a mixed bag, teetering between nostalgia-inducing delight and irksome disappointment. While it successfully evokes memories of classic survival horror games, it fails to deliver a fully realized experience that matches its inspirations. As players journey through its haunting environments and face off against its menacing creatures, they may find themselves torn between moments of joy and frustration. Even if it's not one of the new PS5 games published, it is not old either - 2020. Ultimately, Daymare 1998 remains an intriguing testament to the power of nostalgia, leaving room for improvement and the potential for future success.

Conclusion

Daymare 1998, while paying tribute to the survival horror games of yesteryear, falls short of its lofty aspirations. Though it possesses glimpses of brilliance and captures the essence of the original PlayStation era, the game fails to deliver a fully satisfying experience. It may be one of the best PS5 games for some with a particular taste. With further refinement, optimization, and attention to detail, Daymare 1998 could become a true standout in the survival horror genre. Until then, it serves as a reminder of what could have been—a hauntingly nostalgic journey tinged with both delight and frustration.

Fortnite: How To Complete The Eighth (And Final) Set Of Pirate Code Quests

5. Srpen 2024 v 18:45

The Eighth Pirate Code is part of the Pirates of the Caribbean Cursed Sails limited-time battle pass. So, in addition to earning XP that can be used to unlock items in the normal battle pass, you’ll also unlock Cursed Gold, which will further the Pirates of the Caribbean battle pass. It’s also worth pointing out that…

Read more...

  • ✇Kotaku
  • Fortnite: How To Complete The Sixth Set Of Pirate Code QuestsLuis Joshua Gutierrez
    The Sixth Pirate Code is part of The Pirates of the Caribbean Cursed Sails limited-time battle pass. So, in addition to earning XP that can be used to unlock items in the normal battle pass, you’ll also unlock Cursed Gold, which will further the Pirates of the Caribbean battle pass. It’s also worth pointing out that…Read more...
     

Fortnite: How To Complete The Sixth Set Of Pirate Code Quests

2. Srpen 2024 v 16:47

The Sixth Pirate Code is part of The Pirates of the Caribbean Cursed Sails limited-time battle pass. So, in addition to earning XP that can be used to unlock items in the normal battle pass, you’ll also unlock Cursed Gold, which will further the Pirates of the Caribbean battle pass. It’s also worth pointing out that…

Read more...

  • ✇Kotaku
  • Fortnite: How To Complete The Fifth Set Of Pirate Code QuestsLuis Joshua Gutierrez
    The Fifth Pirate Code is a part of The Pirates of the Caribbean Cursed Sails limited-time battle pass. So, you’ll be able to earn XP that can be used to unlock items in the normal battle pass, as well as Cursed Gold, which will further The Pirates of the Caribbean battle pass. It’s also worth pointing out that each…Read more...
     

Fortnite: How To Complete The Fifth Set Of Pirate Code Quests

1. Srpen 2024 v 19:50

The Fifth Pirate Code is a part of The Pirates of the Caribbean Cursed Sails limited-time battle pass. So, you’ll be able to earn XP that can be used to unlock items in the normal battle pass, as well as Cursed Gold, which will further The Pirates of the Caribbean battle pass. It’s also worth pointing out that each…

Read more...

  • ✇Eurogamer.net
  • Slay the Princess dev encourages players to pirate its viral game instead of watching it on YouTubeVikki Blake
    Indie dev Black Tabby Games has deleted a series of tweets in which the studio had encouraged would-be fans to pirate the game after it went viral courtesy of a Markiplier playthrough.Initially, Black Tabby encouraged players to hop on over to Steam and buy a copy themselves before watching a YouTube series, as the game is described as being "wildly reactive to your choices", and "every playthrough [is] personalised" to the person playing it.As spotted by PCGN, even though Black Tabby threw up
     

Slay the Princess dev encourages players to pirate its viral game instead of watching it on YouTube

23. Červen 2024 v 17:48

Indie dev Black Tabby Games has deleted a series of tweets in which the studio had encouraged would-be fans to pirate the game after it went viral courtesy of a Markiplier playthrough.

Initially, Black Tabby encouraged players to hop on over to Steam and buy a copy themselves before watching a YouTube series, as the game is described as being "wildly reactive to your choices", and "every playthrough [is] personalised" to the person playing it.

As spotted by PCGN, even though Black Tabby threw up a Steam sale to entice players to pick it up, it then went even further, suggesting players pirate a copy if they don't have the money to purchase the game legitimately right now.

Read more

  • ✇Recent Questions - Game Development Stack Exchange
  • Itch.io anti-piracy measures?Blue Herring
    I'm beginning to develop an online party-style game that is planned to be launched initially on itch.io. It's important to note that this game will be unplayable without a connection to the online servers that run it. I'm currently working through early stages of planning, and I was thinking a bit about piracy. My main question is this: Can itch.io give a user who bought my game a unique download key specific to their purchase, and give a list of these keys by way of an API call? Here's my visio
     

Itch.io anti-piracy measures?

I'm beginning to develop an online party-style game that is planned to be launched initially on itch.io. It's important to note that this game will be unplayable without a connection to the online servers that run it. I'm currently working through early stages of planning, and I was thinking a bit about piracy.

My main question is this: Can itch.io give a user who bought my game a unique download key specific to their purchase, and give a list of these keys by way of an API call?

Here's my vision:

  1. Itch gives users a unique key that is specific to their purchase of my game, which they will then input into the game upon first launch. This will be sent to the server, which will authenticate their purchase through the itch.io API.

  2. The game will store this key and send it automatically upon each launch to authenticate with the server.

  3. If the server ever gets two clients using the same key at the same time, it'll know something is wrong and deny them access.

The only thing I'm not sure about is if users can access the download key associated with their purchase of my game. Or even if there's there's a way to automate it, like having Itch somehow give the key to the game when it runs?

Is there a way to do this?

  • ✇Techdirt
  • Max ‘Enshittifies’ Itself By Making John Oliver Harder To WatchKarl Bode
    Now that subscriber growth has slowed, streaming TV giants have taken the predictable turn of making their services shittier and more expensive to deliver Wall Street (impossibly) unlimited quarterly revenue growth. That means higher prices, annoying new surcharges, greater restrictions, more layoffs, more cut corners, worse customer service, and a lot of pointless mergers designed specifically to goose stock valuations and provide big fat tax breaks. The king of said “growth for growth’s sake
     

Max ‘Enshittifies’ Itself By Making John Oliver Harder To Watch

Od: Karl Bode
21. Únor 2024 v 14:24

Now that subscriber growth has slowed, streaming TV giants have taken the predictable turn of making their services shittier and more expensive to deliver Wall Street (impossibly) unlimited quarterly revenue growth.

That means higher prices, annoying new surcharges, greater restrictions, more layoffs, more cut corners, worse customer service, and a lot of pointless mergers designed specifically to goose stock valuations and provide big fat tax breaks.

The king of said “growth for growth’s sake” consolidation was of course the AT&T–>Warner Brothers–>Discovery series of mergers, which resulted in no limit of brand degradation, layoffs, and absolute chaos in the empty pursuit of unlimited scale (aka “enshittification”). The dumb merger already killed Mad Magazine, HBO, and countless television shows, driving millions of subscribers to the exits.

But Max executives clearly aren’t done with ham-fisted efforts to make stocks go up. This week Max executives decided that they’d make John Oliver’s Last Week Tonight harder to watch by no longer making show clips available on YouTube the next day:

The goal was to apparently drive subscribers to the Max streaming service. But because they’re apparently too cheap to pay residuals and hosting costs, Max also no longer lets users watch old seasons of the show, meaning that only the last two seasons of the show are available. In short: the quest for unrealistic quarterly growth sooner or later creates perverse incentives to cannibalize brand quality.

Again, this is all par for the course for an industry that learned absolutely nothing from the scale-chasing disaster that ultimately was traditional cable TV. They’re going to continue on this path until they see a dramatic subscriber exodus to cheap or free services (whether that’s TikTok and Twitch or, more obviously, piracy), at which point they’ll blame everything but themselves (VPNs! China!) for the self-inflicted wound.

  • ✇Slashdot
  • Cox Communications Wins Order Overturning $1 Billion US Copyright VerdictBeauHD
    Internet service provider Cox Communications has been cleared of a $1 billion jury verdict in favor of several major record labels that had accused it of failing to curb user piracy. "The 4th U.S. Circuit Court of Appeals in Richmond, Virginia, ruled on Tuesday that the amount of damages was not justified and that a federal district court should hold a new trial to determine the appropriate amount," reports Reuters. From the report: A Virginia jury in 2019 found Cox, the largest unit of privatel
     

Cox Communications Wins Order Overturning $1 Billion US Copyright Verdict

Od: BeauHD
21. Únor 2024 v 01:45
Internet service provider Cox Communications has been cleared of a $1 billion jury verdict in favor of several major record labels that had accused it of failing to curb user piracy. "The 4th U.S. Circuit Court of Appeals in Richmond, Virginia, ruled on Tuesday that the amount of damages was not justified and that a federal district court should hold a new trial to determine the appropriate amount," reports Reuters. From the report: A Virginia jury in 2019 found Cox, the largest unit of privately-owned Cox Enterprises, liable for its customers' violations of over 10,000 copyrights belonging to labels including Sony Music Entertainment, Warner Music Group, and Universal Music Group. The labels' attorney Matt Oppenheim said that the appeals court "affirmed the jury's verdict that Cox is a willful infringer," and that "the evidence of Cox's complete disregard for copyright law and copyright owners has not changed." "A second jury will get to hear that same compelling evidence, and we fully expect it will render a significant verdict," Oppenheim said. More than 50 labels teamed up to sue Cox in 2018, in what was seen as a test of the obligations of internet service providers (ISPs) to thwart piracy. The labels accused Cox of failing to address thousands of infringement notices, cut off access for repeat infringers, or take reasonable measures to deter pirates. Atlanta-based Cox had told the 4th Circuit that upholding the verdict would force ISPs to boot households or businesses based on "isolated and potentially inaccurate allegations," or require intrusive oversight of customers' internet usage. Other ISPs, including Charter Communications, Frontier Communications and Astound Broadband, formerly RCN, have also been sued by the record labels.

Read more of this story at Slashdot.

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