In the digital era, we are used to thinking that once we buy a game online, we will have lifetime access to it. But what happens when a company shuts down its servers — even for a game that was mostly playable offline? This is what sparked the Stop Killing Games initiative — a movement fighting for players’ right to keep access to purchased titles even after official support ends.
Background: What Sparked the Campaign
In December 2023, Ubisoft announced it was removing The Crew from sale along with all its expansions and shutting down in-game purchases.
The company confirmed servers would be taken offline on March 31, 2024. After that date, the game became completely unplayable — even for players who had already bought it.
Making matters worse, Ubisoft also began revoking game licenses from users once the servers shut down.
This case prompted YouTuber Ross Scott (known for Freeman’s Mind) to launch the campaign to defend players’ rights.
What Is “Stop Killing Games”?
A consumer movement started in 2024 by Ross Scott.
It calls on publishers to ensure that games remain playable after servers are shut down — either by providing offline functionality or allowing private servers.
In the European Union, the initiative was registered as Stop Destroying Videogames, a European Citizens’ Initiative (ECI), aiming to push lawmakers to require “afterlife plans” for games.
The campaign stresses that a purchased game should not “die” simply because a publisher decides to turn off infrastructure.
Industry Reaction, Criticism, and Challenges
Video Games Europe, an industry association, pushed back against parts of the initiative, arguing that enabling offline modes or private servers can be technically or financially impossible for certain games.
Critics also note legal issues — licensed technologies, third-party components, and DRM dependencies can make post-support preservation very complex.
An anonymous complaint was even filed in the EU against the movement, accusing its founder of failing to disclose “financial contributions.” Ross Scott dismissed this as absurd, explaining that no actual money was ever involved — only voluntary work.
Legislative Prospects in the EU
The Stop Destroying Videogames ECI is collecting signatures to force a formal review by the European Commission and Parliament.
If validated (1 million+ signatures across the EU), it could lead to laws requiring publishers to provide ways for games to remain playable after official support ends.
Supporters argue this would preserve cultural value and consumer rights. Critics warn it could place heavy burdens on small developers.
Examples of Games Affected
The Crew — the case that triggered the movement. Once servers went offline, the game became unplayable even for legitimate owners.
Anthem — a live-service game feared to face a similar fate once support ends.
According to the movement’s database, of 731 titles tracked, around 68% are flagged as unplayable or at risk, and only 16 have been saved through developer action or modifications.
Arguments For and Against
For:
- When people buy a game, they expect long-term access.
- Games are part of digital culture, and losing them means erasing history.
- Legal guarantees would push publishers to plan for preservation from the start.
Against:
- Technical or licensing constraints can make offline versions impossible.
- Costs could be too high, especially for indie studios.
- Not all players may be willing to pay extra for permanent preservation.
What Players and Communities Can Do
Sign petitions like the European Citizens’ Initiative and spread awareness.
Support preservation projects, mods, and legal private server efforts.
Back developers who release DRM-free or offline-ready versions of their games.
Contact lawmakers to highlight the issue as a consumer rights concern.
Conclusion
“Stop Killing Games” is more than just a gamer protest — it’s a fight over what digital ownership really means. Can you truly say a game belongs to you if a publisher can simply “switch it off”? Whether the initiative achieves legal change or not, it is already shaping the debate over how we preserve not only entertainment but digital cultural heritage itself.
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