The season finale of Breaking Bad has resulted in a record number of pirated downloads for the popular TV-series. Just 12 hours after the first copy appeared online more than 500,000 people had already downloaded the show via various torrent sites. Most downloaders come from Australia, followed by the United States and the UK, where thousands of file-sharers prefer unauthorized copies over legal alternatives.
One of the main motivations for people to download and stream TV-shows from unauthorized sources is availability.
If fans can’t get a show through legal channels they often turn to pirated alternatives.
However, the series finale of Breaking Bad shows that there are more factors at play. Despite the availability of legal options, in many countries there are those who still prefer to download a copy from unauthorized sources.
Data gathered by TorrentFreak shows that 12 hours after the first copy of the episode appeared online, more than half a million people has grabbed a copy through one of many torrent sites. Never before have so many people downloaded a Breaking Bad episode, making it a strong contender for a top spot in our most-pirated TV-shows of the year chart.
So where are all these pirates coming from, and why aren’t they going for the legal options?
Based on a sample of more than 10,000 people who shared the site via a BitTorrent client, we see that Australia is once again in the lead with 18 percent of the total. This means that a large group of Aussies prefer to torrent the episode instead of watching it on the pay TV network Foxtel.
In the U.S. and the U.K the legal availability on Netflix couldn’t prevent people from pirating the final Breaking Bad episode either. With 14.5 and 9.3 percent these countries are second and third respectively. India and Canada complete the top five with 5.7 and 5.1 percent of the total.
Looking at the list of countries below it’s clear that piracy is still rampant, even in countries where people do have the option to watch the show legally.
One of the explanations for this defiant behavior is that these downloaders simply prefer to torrent the show out of habit. As reported earlier, even among those who have a Netflix subscription, many prefer to grab a copy via torrent sites as they find it more convenient.
In other cases people may find a pay TV subscription too expensive, or they simply prefer to watch the show at their own leisure instead of following rigid TV-schedules
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In Germany several major Hollywood studios are cashing in on BitTorrent pirates, charging hundreds of euros for illegally downloaded movies and TV-shows. While the studios have the right to protect their work, the efforts are double-barreled as they regularly hit the most engaged fans who have no options to watch the content legally. 20th Century Fox’s campaign against “Homeland” downloaders is a prime example.
German Internet subscribers can be held liable for almost everything that goes on via their connections, with or without their knowledge.
As a result, copyright holders have started hundreds of thousands of lawsuits against alleged pirates, demanding settlements ranging from a few hundred to thousands of euros.
In Germany these “trolling” ventures have attracted the attention of the major Hollywood studios. 20th Century Fox, Universal Pictures and Warner Bros Entertainment are actively patrolling the Internet for people who download their work without permission.
The studios use similar monitoring tools as they do in the United States, where file-sharers are approached outside of court with a slap on the wrist or a $20 fine. In Germany, however, the stakes are much higher.
For example, 20th Century Fox is sending alleged file-sharers a 726 euro ($980) bill for downloading a single episode of the TV-series Homeland. For several months the Hollywood studio has been tracking unauthorized downloads of Homeland’s second season, which has yet to air in Germany.
20th Century Fox settlements letter
While these downloads are unmistakably unauthorized, it is ironic that these lawsuits target the TV-show’s most engaged fans. These people don’t download because they refuse to pay, but because they have no legal options at their disposal.
In Germany, Homeland’s second season starts airing next week, a full year after the U.S. premiere. It is inevitable that some of the most passionate fans don’t have the patience to wait this long before they can enjoy their favorite show legally.
Still, the Hollywood studios regularly single out these unavailable releases for their legal efforts. According to Christian Solmecke, a German IT lawyer who has defended hundreds of file-sharers, these shows are regularly targeted.
“The sharing of English-speaking TV series is particularly popular in Germany as these releases are often delayed. As a result, warning letters are regularly received for such copyright infringements,” Solmecke told TorrentFreak.
Unlike in the United States, Internet subscribers have no option to protest a copyright holders’ request to hand over their personal details. Paired with the fact that German ISPs can only store IP-address information for a week, this leads to a situation where personal details of accused subscribers are handed over pretty much automatically.
For the letter TorrentFreak received, the court signed off on handing over the subscriber data within a day of the IP-address being tracked. This is a worrying development according to legal experts and privacy advocates. The low retention periods for IP-addresses are meant to protect the privacy of users, but the opposite may be true in this case.
“I find it shocking when an IP-address is processed by the court on the same day as the infringement takes place,” Solmecke tells TorrentFreak.
“After all, judges should examine each claim on a case-by-case basis. In practice, however, the process is completely automatic and despite this obligation, it is unlikely that the judges properly scrutinize each individual case.”
The Hollywood movie studios, and dozens of copyright holders with them, are more pleased with how the system works. They are literally cashing in on these BitTorrent pirates to the tune of millions of euros every year.
Previously we pointed out that many major music labels and game publishers including CD Projekt have also been involved in the German settlement scheme. After public outcry, mainly targeted at the questionable reliability of the evidence, the latter retired its legal crusade against pirates.
“We value our fans, our supporters, and our community too highly to take the chance that we might ever falsely accuse even one individual,” CD Projekt’s Marcin Iwinski said at the time.
Whether 20th Century Fox and others respect their ‘fans’ just as much is doubtful.
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TorrentFreak released Monday a list of schools with the most BitTorrent downloads for 2013. Topping the chart is the Massachusetts Institute of Technology (perhaps not surprisingly, TorrentFreak writes), with 1,935 recorded “hits” of torrenting activity. Rutgers, New York University, University of Houston and Texas A&M followed, all having at least 900 downloads.
Torrents allow users to share large files online, though they might best be known for the copyrighted content people illegally distribute through them. Searching a popular torrent website can quickly yield free copies of everything from the week’s top albums to libraries of classic films.
Because everything that’s transferred via torrent is public online, it’s easy to trace where the files originate from, says the list’s author and TorrentFreak’s founder, who writes under the pseudonym Ernesto Van Der Sar.
“Traditionally there has been a lot of talk about downloading at universities and colleges, and legislation in the U.S., which tries to prevent it as much as possible,” he says. “Entertainment companies are pushing the universities to educate their students about copyright and that they shouldn’t download illegally.”
These numbers are relatively small, Van Der Sar says, because of pressure on colleges and universities to report and punish students caught spreading illegal content. Colleges often warn students the first time they’re caught, he says, but punishments can escalate up to suspension or expulsion
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Continuing a long-standing New Year’s tradition, today we present an up-to-date list of the world’s most-visited BitTorrent sites. At the start of 2013 The Pirate Bay continues to pull in the most visitors, followed by KickassTorrents and Torrentz. Household names BTJunkie and Demonoid have dropped off the list as both sites are no longer online.
Which torrent sites get the most visitors at the start of 2013?
Traditionally BitTorrent users are very loyal, which is reflected in the top 10 where most sites have had a consistent listing for more than half a decade. This year there are a few movers and shakers, as well as several newcomers.
The most notable absentees this year are BTJunkie and Demonoid. Both sites have been featured in the top 10 since 2006, but went offline in 2012. BTJunkie permanently quit early last year and Demonoid’s future is also uncertain after it disappeared during the summer.
The first newcomer in tenth place is H33t, which has been growing steadily in recent years. The second newcomer is TorrentReactor, one of the oldest torrent sites around that makes its comeback after not making the list last year.
Then there is also a group of notable sites that didn’t make the cut, but deserve a mention. YIFY-torrents.com for example, which launched late 2011 and has grown exponentially since. Also worth mentioning are the Pirate Bay proxies, including Pirateproxy.net, which in itself almost deserves a spot in the top 10.
Below is the full list of the 10 most-visited torrent sites at the start of the new year. Only public and English language sites are included. The list is based on various traffic reports and we display the Alexa and U.S. Compete rank for each. In addition, we include last year’s ranking for each of the 10 sites.
Did we miss anything? Feel free to join the discussion below.
To many people The Pirate Bay is the equivalent to BitTorrent. The site was founded in 2003 and is still expanding, despite the various legal troubles and new blockades in the UK and the Netherlands. The Pirate Bay currently has well over a billion page views a month.
Alexa Rank: 74 / Compete Rank: 398 / Last year #1
KickassTorrents was founded in 2009 and has moved up in our top 10 year after year. Responding to increasing worries over domain seizures, the site moved from its kickasstorrents.com domain to kat.ph in 2012. This year the site continued to grow, despite being blocked by Italian Internet providers.
Alexa Rank: 116 / Compete Rank: 719 / Last year #3
Torrentz has been the leading BitTorrent meta-search engine for many years. Unlike the other sites featured in the list Torrentz does not host any torrent files, it merely redirects visitors to other places on the web. The site uses several domain names with the .eu being the most popular.
Alexa Rank: 166 / Compete Rank: 882 / Last year #2
Two years ago isoHunt became the first search engine forced to implement a keyword filter provided by the MPAA. Despite this setback, isoHunt continues to be listed among the world’s top torrent sites. isoHunt is currently trying to get rid of the filter through the Appeals Court.
Alexa Rank: 213 / Compete Rank: 1,935 / Last year #4
ExtraTorrent continues to gain more traffic and has moved up again in the top 10, now being the 5th most visited torrent site. This success didn’t go unnoticed to rightsholders groups such as the RIAA and MPAA who have called out ExtraTorrent as one of the top pirate sites recently.
Alexa Rank: 279 / Compete Rank: 1,973 / Last year #6
1337x focuses more on the community aspect than some competitors. The site’s owners say they started 1337x to “fill an apparent void where it seemed there was a lack of quality conscience ad free torrent sites with public trackers.” The site moved up from spot 10 last year to 6th in 2013.
Alexa Rank: 1,031 / Compete Rank: 9,228 / Last year #10
Unlike the other sites in the top 10, TV-torrent distribution group EZTV is a niche site specializing in TV content only. It was one of the newcomers last year despite being around for more than 7 years, and is relatively popular among Australians. Because of its focus on TV-content EZTV’s traffic varies in line with the TV-seasons.
Alexa Rank: 1,128 / Compete Rank: 16,622 / Last year #8
BitSnoop is one of the largest BitTorrent indexes, claiming to index a massive 19,091,736 torrent files at the time of writing. The site’s traffic continues to grow steadily, as do the DMCA notices that it receives.
Alexa Rank: 1,159 / Compete Rank: 5,648 / Last year #9
TorrentReactor is back in the top 10 after dropping off last year. A few months ago the site was blocked by a court order in Italy, but the site nonetheless continues to gain visitors.
Alexa Rank: 1,314 / Compete Rank: 4,530 / Last year #NA
H33T has been around for many years and has built a dedicated user base, mostly in Europe and Asia. Despite the wishes of the music industry, the site isn’t yet blocked by any court orders. The site made the news a few months ago when its owner took a stand against the avalanche of copyright takedown requests.
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Interesting news coming out of the Australian Broadcasting Corporation (ABC) shows that maybe BitTorrent pirates have a point when it comes to not waiting for TV shows. In an attempt to dissuade Aussie punters from torrenting the show, ABC has announced it will offer this weekend’s new Doctor Who episode on its iView service as soon as it finishes airing in the UK.
TV shows are often the most popular torrents out there, and the resurrected sci-fi series Doctor Who has an ardent following. Since it rematerialized onto our screens in 2005 it has rapidly gained a substantial and ‘hard-core’ following world-wide.
But thanks to Twitter and Facebook, as well as the more old-fashioned forums and email lists, a storyline can be ruined by ‘spoilers’ emanating from those in regions who gain access to the show first – a recurring theme of the BBC show over the last years.
“Piracy is wrong, as you are denying someone their rights and income for their intellectual property,” said ABC1 controller Brendan Dahill.
“The fact that it is happening is indicative that as broadcasters we are not meeting demand for a segment of the population. So as broadcasters we need to find convenient ways of making programs available via legal means to discourage the need for piracy,” he added.
The Dr Who show will be available on the iView ‘catch up’ service moments after the episode finishes airing in the UK, although those who prefer to watch on their TV will still have to wait until September 8th. While fans would prefer it aired sometime on the Sunday, it’s certainly a step in the right direction.
This is not the first time a sonic screwdriver has been pointed at a broadcast schedule. Transatlantic Whovians got a taste of same-day showings last spring, and will do so again this year. For others however, FACT’s actions against the expat-focused site UKNova over the weekend could not have come at a worse time.
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I’ve been a digital media analyst pretty much as long as mainstream music piracy has been around. I’ve tracked the rise and fall of many sites, services, networks, applications and protocols, including MP3.com, Napster, Music City Morpheus, iMesh, Audio Galaxy, Bear Share, eMule, Gnu Network, Kazaa, Limewire, Pirate Bay, Rapidshare, Megaupload etc etc. The point I’m trying to make – other than my career’s slightly concerning alignment with the rise of music’s grey market – is that the sector is built upon reinvention. And that power of reinvention is the key reason why the music industry has a bigger piracy now than it has ever had before.
Of course there are statistics that suggest the file sharing is on the wane in a few markets – notably Germany – but overall the problem is getting bigger because:
- Non-network piracy is in the ascendency. P2P is declining in importance as a medium for piracy. Non-network sharing (hard drive swapping, darknets, Bluetoothing, mini-nets, digital lockers, forums, binary groups, Instant Messaging, music blogs) are collectively more widely adopted than P2P in many major markets and are growing fast. All tactics of course which are much more difficult to track and police than P2P
- P2P is getting smarter. And for those who still do use P2P there is an ever growing array of tools at their disposal that make it harder for their activity to be tracked, ranging from encrypted versions of mainstream P2P apps through to the Pirate Bay’s current shift from Torrents to Magnets
Of course media industries are upping their game too, with major legislative efforts in the US, UK and France, though all with mixed levels of success. The lesson of the last decade plus though, is of course that whatever actions the media companies take, the piracy problem will be more than a step ahead. Legislation, judiciary process and enforcement are all slow moving beasts. Typically by the time media industries catch up technology and consumer needs have moved on. For example the Pirate Bay looks like it could be blocked from consumers in the UK but a quick search on Google for the name of your content of choice followed by the word ‘torrent’ will serve you up an exhaustive list of alternatives. Pirate Bay simply isn’t needed anymore.
Do we have the right services?
All of these dynamics are probably familiar to most, but I think we may be on the verge of something very different and of far greater concern for rights holders. One of the key reasons – some would argue *the*key* reason – piracy is still growing is because the $0.99 cent download and the heavily delayed movie release simply don’t appeal to most digital consumers. US VC Fred Wilson recently stated in a Paley Centre debate that ‘we are all pirates’ and that if ‘99% of people are breaking the law then it is the wrong law’. My twist on that statement would be that if ‘99% of people aren’t using the services that they are the wrong services’. (Of course more than 1% use legitimate services but we are still talking about a nice minority).
Don’t get me wrong, we have some absolutely fantastic services out there for the current installed base of digital music customers, but they are patently not the right services for majority of consumers who account for the 95% of total downloads which are illegal (according to the IFPI). Regular readers will know that I have been building a case for a music format revolution (you can download my Music Format Bill of Rights report here for free). There are some really promising first steps happening from some promising start ups but rights complexities are acting as a major decelerator on innovation in this space.
What happens if digital piracy starts to learn from the mobile App revolution?
Of course the grey market has no such problem. They only ever concern themselves with rights issues if they get taken to court or decide to try to go legit (Napster, Limewire, iMesh, Kazaa etc). To date the focus of piracy technology has been evading the music industry. But now, with the revolution in high quality user experiences that the App market has created, there is a very real risk that much of this ethos will bleed through to the grey market. Indeed there is undoubtedly some direct overlap between the App developer community and the piracy developer community.
The nightmare scenario for media companies is that the pirates turn their attentions to developing great user experiences rather than just secure means of acquiring content. What if, for example, a series of open source APIs were built on top of some of the more popular file sharing protocols so that developers can create highly interactive, massively social, rich media apps which transform the purely utilitarian practice of file sharing into something fun and engaging? If you though the paid content market was struggling now imagine how it would fare in the face of that sort of competition.
In the longer term one could hope that such a scenario would act as an accelerator for liberalization and innovation of rights owner practices, but in the nearer term it would be a death knell for many of the current services that have worked so hard to get achieve what they have within often suffocating confines.
Content monetization strategies need reworking too
I’ve said it many times before and I’ll say it again now, and many times again: fighting piracy requires a big fat carrot to go along with the stick. More than 300 $0.99 download stores in Europe and North America alone is not a carrot. Now is the time to give the legitimate sector the tools, licenses and support to innovate like never before. It is also time to recognize that just because piracy users don’t always spend money does not mean that they are not spending. In the digital age consumers transact in three equally valuable currencies: Money, Data and Time. Those currencies however are not equally valuable to all industries (e.g. TV broadcasters value time more than record labels, online newspapers value data more than book publishers etc) But it is time for those three currencies to be equally tapped by digital content strategies across all industries (regardless of whether that currency is valuable to them), with supporting ‘virtual commodities’ trading marketplaces in the backend to ensure that all stakeholder ultimately end up getting paid in the currencies they value most.
Unless user experiences and monetization strategies are innovated beyond recognition then the grey market will do it instead, creating a wave of digital piracy that will do for media revenues what the iPhone did for Nokia’s smartphone business.
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I thought I would share a website for those that want to k now if a site is down temporarily or down for good.
This is especially helpful for torrent sites.
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Is piracy really destroying the entertainment industry? Techdirt blogger Mike Masnick doesn’t think so, and he has some numbers to prove it. Masnick and his Floor64 colleague Michael Ho released a report titled “The Sky Is Rising” at the Midem music industry convention in Cannes Monday that shows how the global entertainment industry actually grew by 50 percent in the last decate, despite Napster, BitTorrent & Co.
The report was commissioned by the Computer & Communications Industry Association, which counts companies like Google and Facebook as its members. It’s definitely worth a read (check out the full PDF) and will likely provoke lots of discussion, especially in light of the entertainment industry’s ongoing push for tougher copyright laws.
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Last month, the Gamer/Law legal blog published an article which in many ways failed to understand what so-called pay-up-or-else anti-piracy schemes are all about. Now the owner of Gamer/Law is back with an open letter titled “To those who defend game pirates”. Since it’s published in Edge, probably the best print-based games publication ever made, I simply can’t let this one lie.
The Gamer/Law blog is written by Jas Purewal, a London-based games lawyer. Late December a guest article appeared there titled ‘The Internet v CD Projekt: a Legal Perspective’ by gamer and law student John Wrigley.
Today, Purewal published another on the same subject in the online edition of Edge, which in my opinion is the most intelligent games publication ever committed to paper. As a fanatical gamer, former 8bit games coder, and proud owner of the publication’s issue 1 from 1993, I felt compelled to respond.
“By far the most emotive argument that is often proffered is that CD Projekt are blackmailing people by saying ‘Pay up… OR ELSE!’ and thereby are removing access to justice and denying due process and so forth. Sadly, from a legal perspective, the case seems to be slightly different,” wrote Wrigley in the initial piece.
“…if you haven’t downloaded The Witcher 2 illegally and CD Projekt cannot prove that you have then actually the entire process won’t cost you a single penny,” he added.
What we have here is someone who writes clearly with an undoubted understanding of the mechanics, but also seems to lack specific experience in a practical boots-on-the-ground sense.
Here at TorrentFreak we aren’t lawyers, but we have spoken intimately with dozens of people targeted in similar actions and for them to deal with court-bound accusations effectively they need lawyers, and they cost lots of money. It is not enough to say “oh, well, you’ll get the money back when you win”, because many of these people don’t have the money in the first instance.
In any event, why should innocent people be dragged through hell for months on the word of a faceless and largely unaccountable anti-piracy company? Well let’s not worry right now, since Gamer/Law seems to think that proving innocence is easy.
“It should first be noted that if CD Projekt do take you to court, they have to prove that you downloaded the game [TF note: It's uploading, not downloading], the only thing that you will ever have to try to prove is that their proof is wrong. This could actually be easier than anticipated, as IP tracing is far from a reliable source of evidence,” writes Wrigley.
However, proving innocence in the legal arena chosen by CD Projekt is not easy at all. After first hiring a UK law firm where the lawyers carrying out their pay-up-or-else scheme were later severely disciplined for their activities, CD Projekt shifted their enterprise to Germany to claim money from alleged file-sharers there.
And getting convictions in Germany is like shooting fish in a barrel.
Just recently a Retired, Computerless Woman was fined there for pirating a ‘hooligan’ movie. Her lawyer, Christian Solmecke, with law firm Wilde Beuger Solmecke, outlined her desperate situation to TorrentFreak.
“Normally the copyright holder has to prove who did the copyright infringement. As this is hard for him – because he has no chance to look into a thousand houses – the courts in Germany alleviate this burden of proof,” he explained.
Proving a negative was ultimately impossible for the woman and she had to pay 650 euros to the claimant. This is the environment CD Projekt know they are working in and they will be making nice profits from settlements because after hiring a lawyer at their own expense, people learn that they cannot win in court.
The rest of the initial Gamer/Law post had many other issues, but we don’t have all day and there is a more pressing issue – a fresh ‘open letter’ just published in the online edition of my beloved Edge.
“In case you hadn’t guessed, this is a letter to those folks who oppose developers taking legal action against people who download and play their games without paying. Hello,” begins Jas Purewal.
I’m going to ignore the exclusive nature of this invite and consider it directed at me, since as the title of this piece points out, you don’t have to support piracy to detest these hateful schemes.
Purewal lists several reasons people put forward as to why game devs shouldn’t chase down alleged pirates. His first two points – Technological Reasons and Evidential Reasons – are shown separately but in reality they are utterly intertwined. Here are some observations of our own on the same points:
1. CD Projekt refuse point-blank to reveal who their anti-piracy company is (let alone allow anyone a look at their systems) and as we can see from the ‘hooligan’ case listed above, in their chosen territory, Germany, conveniently there is a reverse burden of proof. In that case the court didn’t even examine the technical evidence. But for a moment, let’s pretend that CD Projekt’s impossible claim of 100% accuracy is real….
2. In previous UK cases, after initial harvesting IP address ‘evidence’ was shifted from company to company, from format to format, with no safeguards and no checks. IP addresses were even copied/transposed by hand (often incorrectly), and the wrong account names were attached to outgoing letters. Trust us, in these case humans can screw anything up, and they have done so in the past, royally.
3. CD Projekt’s ‘perfect’ anti-piracy contractor sends an IP address and a timestamp to the ISP of the alleged pirate and they match it to the correct subscriber – well, sometimes they do. There were several proven cases in the UK where ISPs identified the wrong subscriber and in a huge number of cases couldn’t identify the subscriber at all, which is hardly confidence inspiring.
Only last year, Irish ISP Eircom incorrectly identified 300 account holders as Internet pirates, despite them allegedly receiving the correct information from an anti-piracy company. CD Projekt can not claim to have a complete chain of accurate evidence because they are quite simply not in control of all of it.
Worryingly, Purewal (a UK lawyer) also rolls out the tired notion that it is an account holder’s responsibility to protect his own Internet connection, along with the implication that the person is then responsible for the actions of others. In previous UK cases that didn’t wash with the courts but wait – that is the case in Germany where CD Projekt is looking for settlements. Rest assured, they know that – why do you think they gave up on the UK?
Purewal goes on to give a 5/10 credibility mark to “The ‘little old lady’ reason”, that sending scary letters only scares people. Well, of course they do. The claimants have to give the impression that the end result of not settling is legal action or no-one will hand over their money, but as we know, these companies rarely go to court unless it’s an open and shut case. Like they all are in Germany.
Since CD Projekt’s actions are Purewal’s cited reason for his open letter, let’s end with them.
The company says they’re taking this action to reduce piracy, but the only reason the wider world knew about their lawsuits is because TorrentFreak wrote about them. If we had written something else that day, people would still not know, and if they don’t know they can’t ever be deterred from piracy.
But if people do know, they won’t get caught, and if they don’t get caught they can’t get a $1,000 invoice. Without one of those, CD Projekt don’t get paid.
What we have here is a business model – a complaint filing machine that generates around $1000 a time, split between a law firm, the anti-piracy company and CD Projekt, and the more letters sent out, the better it is for everyone. There are no outward checks, there’s no accountability and absolutely no compassion or understanding for those wrongfully accused through hidden incompetence.
This is why I, a prolific games player and games buyer of more than three decades standing, say that you don’t have to support piracy to hate bullying, intimidation, and abuse of position.
But, most importantly, the reason why games companies shouldn’t embark on these schemes is a lot more simple. They will ruin their hard-earned image and do nothing – NOTHING – to reduce piracy.
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