Rime's Denuvo Defeated: Developer Gets To Work On DRM Free Version As Performance Hit Details Emerge

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As we had recently discussed, Tequila Works, makers of RiME, had promised pissed off customers that once the game was cracked and its Denuvo DRM defeated, it would release a Denuvo-free version of the game via a patch. The crack of the game came about almost immediately after this statement was made, because of course it was. To their credit, Tequila Works made good on its promise of a patch, while also blaming the use of Denuvo on Grey Box, its publisher.But there's a secondary story here. The actual impact DRM has tended to have throughout its history has been mostly to annoy legitimate customers by either keeping them from playing the game they purchased at all, or by resulting in negative impacts on game performance. For RiME, it appears the issue is the latter, and the person who cracked the game is offering details of how Denuvo tried desperately to turn the dial on its software up to eleven, almost certainly impacting performance of the game.

In a fanfare of celebrations, rising cracking star Baldman announced that he had defeated the latest v4+ iteration of Denuvo and dumped a cracked copy of RiME online. While encouraging people to buy what he describes as a “super nice” game, Baldman was less complimentary about Denuvo. Labeling the anti-tamper technology a “huge abomination,” the cracker said that Denuvo’s creators had really upped their efforts this time out. People like Baldman who work on Denuvo talk of the protection calling on code ‘triggers.’ For RiME, things were reportedly amped up to 11.“In Rime that ugly creature went out of control – how do you like three fucking hundreds of THOUSANDS calls to ‘triggers’ during initial game launch and savegame loading? Did you wonder why game loading times are so long – here is the answer,” Baldman explained. “In previous games like Sniper: Ghost Warrior 3, NieR Automata, Prey there were only about 1000 ‘triggers’ called, so we have x300 here.”

“Protection now calls about 10-30 triggers every second during actual gameplay, slowing game down. In previous games like Sniper: Ghost Warrior 3, NieR Automata, Prey there were only about 1-2 ‘triggers’ called every several minutes during gameplay, so do the math.” Only making matters worse, the cracker says, is the fact the triggers are heavily obfuscated under a virtual machine, which further affects performance.

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The Music Licensing Swamp: Spotify Settles Over Failure To Obtain Mechanical Licenses

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A year and a half ago we wrote about a lawsuit, filed by musician/songwriter/Techdirt-hater (with a few perhaps surprising exceptions) David Lowery against Spotify, for failing to pay mechanical licenses. As we noted at the time, the more interesting thing to us beyond the lawsuit itself was how it demonstrated what an amazing clusterfuck music licensing is. That's because copyright law has not done a very good job keeping up with the times as technology changes (understatement alert).Basically, each time a new technology undermines the way licensing worked in the past, Congress ends up duct-taping on some new kind of licensing regime. There are a bunch currently, nearly all of which can be traced back to different technological innovations from the past century and a half. And, then, the internet came along. And it wasn't entirely clear how the licensing regimes of things like radio, television, player pianos, and satellite radio fit into the internet. And, some seem to think the answer is: they ALL apply. At the very least, I don't envy the "licensing" team at the various music tech companies.In our initial post, we noted that the issue seemed so complex that after talking to half-a-dozen copyright lawyers, no two could agree on what was actually happening with the lawsuit, or even if it was a legitimate case. The underlying issue had to do with mechanical licensing (a type of licensing which, as it's name suggests, goes all the way back to the early days of "mechanical" reproduction of compositions), and we were wondering how it could possibly be that a company as big as Spotify, whose entire story rested on the idea that it had properly negotiated licenses, had somehow failed to properly secure mechanical licenses. And, yet, a few months later, we noted that the Harry Fox Agency, an organization that many companies, including Spotify, Apple and others, use to handle these kinds of licenses, appeared to be scrambling to send out notices of intent (NOIs), which was something that should have happened way earlier.After Lowery's lawsuit got combined with another similar lawsuit, it's now been announced that Spotify has settled the combined lawsuit and created a $43.4 million fund to pay for the mechanical licenses it failed to obtain properly in the first place. Now, there are still some who argue that mechanical licenses shouldn't even be necessary for a streaming service, but it doesn't appear that anyone has the desire to fight that one out in court, and it's understandable why. Doing so would almost certainly lead to any service making that argument getting slammed by musicians for trying to avoid paying songwriters.Either way, Spotify has paid its way out of this and I remain baffled by the fact that it hadn't just done the right thing in the first place -- though I'm still curious if the real culprit here is the Harry Fox Agency, and if Spotify and HFA have had a long conversation or two about how this all came down. The real lesson in all of this, though, is that music licensing continues to be a complete murky, swampy mess, almost designed to make it that much harder for licensed music services to exist. While Congress dithers with silly ideas about "moving" the Copyright Office, if it wasn't to actually reform copyright laws, it should start by fixing and modernizing the crazy and overly complex licensing regimes.

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