“Does that mean the company might follow TMNT with Konami’s other popular brawlers like The Simpsons or X-Men? Bachrach paused for a few seconds when we asked him, then he replied, “Uh, we agree with you that they are very popular cabinets.”
He laughed. So, are those games happening too? “Maybe,” he said with another laugh. “I cannot confirm or deny that.”
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![Ghostbusters_t00.mkv_snapshot_00.55.46_[2019.05.23_22.19.54]](https://mattpaprocki.files.wordpress.com/2019/06/ghostbusters_t00.mkv_snapshot_00.55.46_2019.05.23_22.19.54.png?w=500)
“The story of Ghostbusters was the result of a two week brainstorming session in 1983 (with Reitman joined by stars Dan Aykroyd and Harold Ramis in Martha’s Vineyard), and a pure Reagan-era reaction. The supernatural entity Gozer was the villain, but so was the government.
“I’ve been sort of a Libertarian,” Reitman says. “I’m actually a double immigrant. Coming to Canada from Czechoslovakia and then immigrating to America from Canada did make me believe in the power of capitalism and the power of the intelligent individual which has been a theme from many of my films.”’
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“Upon booting many contemporary video games, the screen floods with text which states your rights as a consumer. Buried in the wording is the language stripping ownership. In Bethesda’s Doom, the text reads, “You agree not to: Distribute, lease, license, sell, rent… without the express prior written consent of the Licensor.” In 2K’s Battleborn, the language is the same, adding additional restrictions for “Virtual Goods or Virtual Currency.”
Because the rental industry relies on rights granted by the First Sale Doctrine and Video Rental Amendments Act of 1990—rights being eroded by Vernor v Autodesk and the legalese agreed upon when booting a new game—are game rentals now illegal in certain circumstances? “Yes,” stated Rosenblatt. “Unless [the video store] obtained separate permission from the game company they are probably violating copyright or a contract. And if they do that, they’re taking a calculated risk.”
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“It sounds alarmist, but therein lies a key appeal to physical media: true ownership. If a manufacturer of music CDs shuts down, their discs continue working. Nothing changes. If a digital music provider meets their financial demise, there are no guarantees purchases will be useable. Physical games for the Atari 2600, released in the late ‘70s, still work. Some digital games released for the original Xbox in 2007 do not. It’s a potential preview of our all-digital future.”
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Matt Paprocki 