Stop Killing Games: The Fight Over Who Really Owns What You Buy in the Digital Age

23 April 2026

Paul Francis

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From Online Petition to Political Pressure

What began as frustration among gamers has now crossed into something far more serious. The Stop Killing Games movement, initially sparked by the shutdown of titles like The Crew, has moved beyond forums and social media into legal challenges and political debate.

White game controller on blue background, right side shattering into pieces. Symbolizes breaking or transformation.

Consumer groups in Europe have backed legal action against publishers, arguing that players were misled into believing they owned products that could later be rendered unusable. At the same time, the campaign has reached the European Parliament, where discussions around digital ownership and consumer protection have begun to take shape. What was once dismissed as niche has become a test case for how digital goods are regulated.

The movement itself is led by creator Ross Scott, but it has grown well beyond any single figure. It now represents a broader unease about how modern products are sold, controlled and ultimately withdrawn.

At its core, Stop Killing Games is not just about gaming. It is about a shift in how ownership works, and whether consumers have quietly lost more control than they realise.

What the Movement Is Actually Fighting For

Despite the name, the campaign is not demanding that every online game be supported indefinitely. Its central argument is more grounded than that.

When a publisher decides to shut down a game, particularly one that requires constant server access, that decision often makes the entire product unplayable. Even single-player elements can disappear overnight. For players who paid for that experience, it raises a simple but uncomfortable question: what exactly was purchased?

The movement is calling for practical solutions rather than unrealistic guarantees. These include allowing offline modes when servers are closed, enabling private servers, or providing some form of end-of-life access that preserves functionality. The goal is not to prevent change, but to prevent total erasure.

In many ways, it is a request to restore something that once felt obvious. If you buy something, you should be able to use it.

Ownership Versus Access in the Digital Economy

The deeper issue sits beneath the surface of gaming and extends into the structure of the digital economy itself.

For decades, buying a product meant owning a physical object. A book, a film, a game cartridge or a disc. That ownership was simple and difficult to revoke. Once purchased, the item existed independently of the company that made it.

Digital products have altered that relationship. Today, many purchases are effectively licenses rather than ownership. Access is granted under certain conditions, often tied to accounts, servers or ongoing support. When those conditions change, access can disappear.

Gaming has become one of the clearest examples of this shift. Titles are increasingly designed as ongoing services, reliant on infrastructure controlled entirely by the publisher. The result is a situation where the consumer’s sense of ownership does not match the legal reality.

Stop Killing Games has brought that contradiction into focus. It asks whether the language of buying still holds meaning in a system built on controlled access.

Stack of Sega Genesis cartridges and a controller on a wooden surface. Titles like Comix Zone visible, creating a nostalgic vibe.

The Move From Products to Services

Part of the reason this issue has intensified is the way the gaming industry has evolved.

Modern games are often no longer standalone products. They are platforms. They receive updates, expansions and live content over time. From a business perspective, this model offers clear advantages. It creates recurring revenue, extends engagement and allows companies to adapt their products continuously.

However, it also creates a dependency. The game is no longer something that exists on its own. It is something that functions only as long as the supporting systems remain active.

When those systems are withdrawn, the product effectively ceases to exist.

This is not unique to gaming. Similar models are visible across software, media and even hardware. Subscription services, cloud-based tools and connected devices all rely on ongoing support to function. The difference is that games make the consequences of that model immediately visible.

When a game is shut down, there is no ambiguity. It stops working.

Why This Moment Feels Different

The Stop Killing Games movement has gained traction now because it intersects with a broader shift in how people view digital ownership.

There is a growing awareness that many of the things we “own” are conditional. Music libraries can disappear from platforms. Software can lose functionality. Devices can become limited when support ends. What once felt permanent now feels provisional.

This has created a sense that control is increasingly one-sided. Companies retain the ability to alter or remove products, while consumers have little recourse once a purchase has been made.

The legal challenges emerging in Europe reflect that tension. They suggest that existing consumer protection frameworks may not fully account for the realities of digital goods.

If those frameworks begin to change, the implications will extend well beyond gaming.

The Industry Perspective

Publishers and developers do not see the issue in the same way.

Maintaining servers costs money. Supporting older titles can divert resources from new projects. In some cases, the technical structure of a game makes it difficult to separate offline and online components.

There are also concerns about security, intellectual property and the potential for unauthorised modifications if private servers are allowed.

From this perspective, games are not static products but evolving services. Ending support is part of their lifecycle.

The tension lies in the gap between that model and consumer expectations. Players are not always aware of the limitations attached to what they are buying, and when those limitations become visible, the sense of loss is immediate.

A Question That Goes Beyond Gaming

What makes Stop Killing Games significant is not just the issue it addresses, but the question it raises.

If digital purchases can be altered or removed after the fact, what does ownership mean in the modern world?

This question applies to far more than games. It touches on software, media and the increasing number of products that depend on connectivity and external control. As more of life moves into digital systems, the balance between convenience and control becomes harder to ignore.

The movement has gained attention because it makes that balance visible. It turns an abstract concern into a concrete example that people can understand.

Where This Could Lead

It is still unclear how this issue will be resolved. Legal cases are ongoing, and political discussions are in their early stages. The outcome could range from minor adjustments in how games are designed to more substantial changes in consumer protection law.

What is clear is that the conversation has shifted. The idea that digital products can simply disappear without consequence is being challenged in a way that feels more organised and more serious than before.

For now, Stop Killing Games represents a growing pushback against a system that has quietly redefined ownership. Whether that pushback leads to lasting change will depend on how regulators, companies and consumers respond.

What began as a complaint about a single game has become something larger.

It is now part of a broader debate about who controls the things we buy, and whether that control has already moved further away from the consumer than most people realised.

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A Music Illiterate Reviews The Eurovision Finals Part 2

Connor Banks
May 20, 2024
9 min read

I previously went and reviewed the songs that did not make it through to this years Eurovision final, there were a few hidden gems and songs that definitely deserved their flowers and a spot in the final. But now’s the time to go ahead and review every performance from this year's Eurovision final, as there are 26 songs this article will go over the first 13 songs from this year's final, starting off with hosts Sweden!

Sweden “Unforgettable” Marcus & Martinus

Sweden has been a powerhouse in Eurovision for quite some time now having the joint most wins along with Ireland. Eurovision is where many Swedish acts have managed to break into the mainstream world of music, such as ABBA, and so every Swedish act almost immediately has this incredibly high expectation of producing a good track and performance. So surely this year they’d be able to do the same right? I mean with a song called “Unforgettable” surely no one is going to forget that one! Except, I’ll be honest, this might be the most forgettable song out of all the songs performed at this years final. The song is an electronic pop song and featured one of the most generic beats for a song and yet it finished 9th, which I get the staging was kind of fun to watch but I don't think the song was special enough to warrant a 9th place finish. If Sweden were not hosting, I don’t think this would have qualified ahead of some of the songs from the semi final. Definitely should have been a bottom 5 finish.

Ukraine "Teresa & Maria" Alyona Alyona and Jerry Heil

Next up is Ukraine. Ukraine have had a series of very strong performances in recent years, and a lot in general since they joined back in 2003, usually concocting a unique blend of performances, cultural elements, and contemporary music. And this year was no different with “Teresa & Maria” a song about hope inspired by Albanian Roman Catholic saint Mother Teresa and the Virgin Mary, the song was written by Alyona, Heil, Anton Chilibi, and Ivan Klymenko. I personally really enjoyed this song, Ukraine always has strong entries into eurovision and this years was just another in a long list of bangers. Easily one of my favourites from the entire show but I probably would not have ranked it as the 3rd best from the night, for me it would sit around 5th/6th.

Germany “Always on The Run” Isaak

Germany has had a rough relationship with Eurovision in recent years, finishing near last place in the last 4 contests. But could this year break the streak of poor performances this year? Well it did! The song managed to finish 12th overall a much needed improvement for Germany over their last few entries, however I do think this is a bit unearned. Whilst its great that Germany have managed to finally produce an entry that can break above dead last or 2nd to last, positions normally reserved for the UK and Germany, I don’t think this song was unique enough to warrant that drastic rise. The song is a lot like if you somehow made Lewis Capaldi more boring and German. A 12th place finish is probably a little high for this type of entry especially when Eurovision is known for its eccentricity and I don’t know if this song truly is that much better than their previous entries in previous years. I feel a finish around 20th would have been an improvement and more accurate as to what the song was.

Luxembourg “Fighter” by Tali

Luxembourg haven’t been in a Eurovision for over 30 years, with this year being the first time they’ve performed since 1993. Despite its absence from recent contests, Luxembourg's legacy in Eurovision remains influential, and its winning entries are still celebrated. So expectations were high for this former powerhouse of the competition. And I think it was a strong re-entry into the competition with the song “Fighter”. The song has a catchy beat and honestly is very Eurovision, for those who regularly watch the competition you’ll know what i mean. Singing in both English and French, Tali’s performance involved her dancing with a group of male dancers whilst a CGI Leopard roared behind her, the whole thing was very camp and what we love about this yearly competition. The song finished 13th on the night, and I feel like that’s fair however this does mean it finished below Germany somehow.

Netherlands “Europapa” Joost Klien

Going into the competition, this was the favourite to win by almost everyone. Joost Klien had made the most Eurovision-Europop song that he possibly could have made and on top of that, it was fun to listen to. The song had gone viral on social media platform TikTok with many people using the sound all across Europe, peaking at number 1 in the Netherlands. This wasn’t just a song that was loved for the Eurovision moment but also by its home-country. Europapa also had a deeper meaning behind it as Joost had used his own personal experiences after the tragic passing of his parents when he was young. The song was massively loved by fans, during the live performance at the Semi Final the entire crowd was singing and clapping along. But hours before the competition took place, Joost was disqualified from the competition after an alleged incident occurred backstage. This backstage incident occurred moments after Joost had called out the Israeli entrant during a press conference leading many to speculate that the 2 events might be linked. Whatever your opinion on that matter, I think that this song is the true winner of the entire competition. Europapa is my number 1. The song is Eurovision.

Israel “Hurricane” Eden Golan

Another entry with controversy this year, with many fans protesting and boycotting the show simply because they were allowed to perform. And whilst there are a lot of questions in regards to that, for the purpose of this article I am only going to focus on the song, the singer, and the performance. Whilst Eurovision is often entwined with politics, whether intentionally or not, I will refrain from doing so.

Anyway the song itself, the song is a sort of generic power ballad, reminiscent of the series of former Disney stars doing power ballads in the early 10s to try and break from their Disney molde. The song when only looking at public voting finished 2nd, which honestly is wild that it got that many votes. Is it a bad song? No. Is it a good song? It’s alright. Is it a good Eurovision song? Also no. The song doesn't stand out for anything other than the politics behind the scenes. The song deserved to finish somewhere in the mid table, I’m going with 12th.

Lithuania “Luktelk” Silvester Belt

Lithuania has been a consistent and ambitious participant in the Eurovision Song Contest since its debut in 1994. Although it has yet to secure a win, the country has made a significant impact with several memorable performances and strong entries. And they had another memorable performance this year from Silvester Belt. This year's song is an interesting mix of 90s techno-pop and modern elements. On one hand, the song has a catchy rhythm and a memorable hook that some people find appealing. It brings a nostalgic feel with its retro influences, which might resonate with fans of that era. The lyrics delve into themes of time and reflection, adding a bit of depth to the otherwise danceable track. However, "Luktelk" struggled to stand out in a competitive Eurovision lineup. This year features several other entries with similar 90s-inspired sounds, such as Finland's Windows95Man and Austria’s Kaleen with "We Will Rave." Overall it finished in 14th place, and I feel this is about right for the song. I like it but it wasn’t anything special or uniquely Eurovision.

Spain “Zorra” Nebulossa

Spain has had a significant and enduring presence in the Eurovision Song Contest, being one of the big 5 nations mean they don’t need to compete in the semi finals to qualify for the final. This years entry tries to reclaim the term "zorra," which translates to "slut" or "bitch," aiming to make a strong feminist statement. A commendable goal for sure, but outside of the meaning of the song it is an electro-pop track that feels somewhat generic. It doesn’t really stand out in the lineup, especially with other strong entries this year. The melody and production are decent but nothing groundbreaking. For a song that's supposed to be so bold and defiant, it doesn't bring anything particularly new or exciting to the table. And this song finished 22nd overall, which honestly I agree with. It definitely shouldn’t have finished any higher.

Estonia"(Nendest) narkootikumidest ei tea me (küll) midagi" 5miinust and Puuluup

Estonia has made a significant impact on the Eurovision Song Contest with its diverse and high-quality entries. The country achieved a historic victory in 2001 with "Everybody" but did this years entry live up to that former glory? This year's song blends hip-hop and modern folk, which gives it a unique sound. 5miinust brings their energetic hip-hop vibes, while Puuluup adds a touch of Estonian tradition with the talharpa, a traditional bowed harp. This mix has made the song stand out, especially since it's the first Estonian-language entry in Eurovision since 2013. However, the song does have a very niche feel to it, which doesn't really make it very accessible to many of those across Europe. I do have to give Estonia credit for the bold entry but I think it ended up placing around where it should have at 20th, maybe a couple places higher if I’m feeling nice.

Ireland “Doomsday Blue” Bambie Thug

Ireland actually tied for the most amount of Eurovision wins along with Sweden, but despite that they had not qualified for a Eurovision final since 2018. Until they chose Doomsday Blue by Bambie Thug to represent them this year. The song, described as "Ouija-pop," features dark, haunting lyrics and a distinctive stage. Taking elements from alternative rock, pop and jazz, Doomsday Blue is a very unique entry from the former Eurovision Powerhouse and its clear to see why this is the song that has brought them back into the finals of the competition. Bambie Thug's performance was eerie and featured spellbinding qualities, creating a memorable Eurovision moment that people will be talking about for years to come. I personally really enjoyed this song and its performance, it definitely stood out from the crowd. The song finished at a respectable 6th place, but for me this is a top 5 song from Eurovision this year.

Latvia “Hollow” Dons

Latvia has made a significant mark on the Eurovision Song Contest with its early victory and continued diverse contributions but would “Hollow” by Don step up to that previous legacy? "Hollow" is a lyrical ballad with influences of soft rock, starting off with a simple piano arrangement and building up to a more orchestral feel. The chorus is particularly impactful, with Dons singing about the hollowness of superficial advice and the importance of staying true to oneself. His voice has a raw, gritty texture that adds a lot of emotion to the song, which is very reminiscent of Rag’n’Bone Man and Hozier. But much like other songs on this list, it's a decent song, just not a Eurovision song. Which is probably why it’s not going to get a huge ranking from me but also why it didn’t place higher than 16th which is exactly where it should sit, middle of the table.

Greece “Zari” Marina Satti

Greece’s entry this year is definitely one of the more unique ones. The song mixes traditional Greek music with modern and ethnographic elements, creating a really engaging and unpredictable experience. It starts with these ethnic-sounding drums and Marina's powerful vocals, which immediately draw you in. Then, it unexpectedly shifts into more modern, hip-hop-inspired segments, which keeps the song feeling fresh and dynamic throughout. Some people have said that the shift is too jarring, but personally I like the shift and it only helps promote more traditional music getting a much deserved spotlight, which is one of the best parts about Eurovision. This me is easily a top 10 song, it managed to finish 11th so it’s that far off my opinion.

United Kingdom “Dizzy” Olly Alexander

This year our entry was from the former lead singer of Years & Years, Olly Alexander, who previously had the number 1 hit King. The UK has had a mixed relationship with Eurovision, we’ve had a tendency to send acts that either don’t push the boundaries or aren’t fit for Eurovision. The one time we did take it seriously and sent Sam Ryder, we missed out on the number 1 finish to Ukraine who had just been invaded by Russia. This years entrant however I don't think it lives up to the highs of Sam Ryder’s entry. Whilst it is better than last years, it’s still not my favourite performance from this years Eurovision. First off, the song feels like it's trying too hard to capture that nostalgic 90s dance vibe but ends up sounding a bit dated. It lacks the big, memorable chorus that could make it a standout track. Olly Alexander is a great performer, no doubt about that. He’s got a lot of stage presence and experience from his Years & Years days. But even his performance was not enough to elevate a song that feels somewhat flat and repetitive. "Dizzy" has some fun elements, it doesn't seem to have the emotional punch or memorable hook that you need to really make a splash at Eurovision. Overall the song finished 18th which is an improvement from last year, and is around where I would have placed it anyway.