Pluralistic: How labor rights rescued Ultima from a monopolist (12 Oct 2026)

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Originally published at: Pluralistic: How labor rights rescued Ultima from a monopolist (12 Oct 2026) – Pluralistic: Daily links from Cory Doctorow



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  • How labor rights rescued Ultima from a monopolist: If you care about labor justice and artists' rights, stop focusing on copyright.
  • Hey look at this: Delights to delectate.
  • Object permanence: China unblocks Wikipedia; CCC cracks the Bundestrojaner; "Children of the Sky"; "Messy"; Every top Icelandic banker is guilty; Climate activism x digital activism; Gene Kan on P2P's future; Larry Ellison x mass surveillance; W3C v patents; "Work from home" in the cybercrime supply-chain; "Nursery Rhyme Comics"; Glitchy tea-set; Tourist Guy; Vista v reinstallation; Ryanair v your bladder; Wells Fargo CEO loves "sales culture"; "Attention Merchants"; Orban v free press; AI v GIGO; Dylan wins the Nobel; India's starving kids app; Adobe's spyware copyfraud; Charter blackmails customers with bad credit threats; Fix UK housing.
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A heavy, medieval, ornate brass door with a lion's head in the center and a handle carved as an elaborate winged figure. The lion's eyes have been replaced with dizzy spirals. The head of the winged figure on the handle has been replaced with an 8-bit Ultima avatar's head. The handle center and ring have been altered to add a series of copyright symbols to them. The trim of the door has been worked with the Ultima Online logo. A keyhole set beneath the handle shows a distant pixelated lich sprite from an early Ultima game.

How labor rights rescued Ultima from a monopolist (permalink)

If you work in the media, you have doubtless had a lifetime of encouragement to treat copyright as your primary source of economic protection, and doubtless you've been told that this protection arises from the fact that copyright is a property right – specifically, it's a subspecies of "intellectual property":

https://locusmag.com/feature/cory-doctorow-ip/

Property rights are capitalism's holy sacrament, so of course, it's natural to treasure any property right you can lay claim to. But this is a trap. Creative workers aren't asset speculators, we're workers. When we bargain with a media company to sell them our copyright, we're just bargaining to sell our labor, not our property.

This is a distinction with a difference. Property rights are alienable. When you negotiate to sell your property to someone else, you propose to transfer the title to that property. If you sell your house, you don't get to move back in if you change your mind later. Sell your car, and you must not get in and drive it away.

Nominally, creative workers only bargain away some of their copyright, because copyright is also divisible. You can sell US English print rights to a novel, a one-month license to synch a song to an advertisement, or the right to display a painting for a year.

But here's the thing about property rights: the most reliable predictor of how many property rights you must give up in a sale isn't how many property rights you started with – it's how much bargaining power you have. For 50 years, governments have expanded copyright in every way, making it last longer, cover more works and restrict more uses, all backstopped by ever-steepening penalties. 50 years later, media companies – our bosses – are larger and more profitable than they've ever been, and we're poorer than we've ever been. The share of the money generated by our labor has declined, even as our rights over the product of that labor have expanded.

How to make sense of this? It's easy, once you factor in power. In a world of five publishers, four studios, three labels, two app companies and a single ebook/audiobook company, getting more copyright to bargain with just means getting more copyright to bargain away. When copyright's term expanded from "life plus 50 years" to "life plus 70 years," our bosses simply demanded the entirety of the new term, and didn't offer us a dime more.

This is the thesis of Chokepoint Capitalism, the book on Big Tech, Big Media, and creative labor markets Rebecca Giblin and I published in 2022:

https://www.beacon.org/Chokepoint-Capitalism-P2020.aspx

Chokepoint Capitalism is broken into two parts: the first half of the book is a series of pitiless, plain-language dissections of the baroque scams that media companies have used to make themselves richer from our work, from Spotify to Amazon to Livenation and beyond. From reader feedback, I can tell you that these chapters will make you very angry, because once you strip away all the deliberate obfuscation, all you're left with is one screw-job after another, each of which makes the creators you love poorer even as you pay more for their work.

But then there's the second half of the book. This section is devoted to "shovel-ready" policy solutions, each of which is designed to change the "distribution" of the spoils of the media industry, putting more money in workers' pockets at the expense of our bosses. None of these are things you can do as a "conscious consumer." The monopolistic destruction of creators' livelihoods is a systemic problem and you can't solve it by shopping better.

The point of these chapters is to lay out what we must demand from our policymakers when (inevitably), they propose to "solve" the problem of worsening straits for creative workers – and to help creative workers understand that when our bosses demand more copyright, that's not there to benefit us.

One of these systemic solutions is "termination of transfer," a simple and radical idea that has a proven track-record of making creative workers richer at our bosses' expense. Simply put, "termination of transfer" is the statutory right to void any contract you've signed to transfer your copyright to someone else. In the USA, the 1976 Copyright Act introduced a 35-year termination right. 35 years after you sign any copyright contract, you can file some paperwork with the US Copyright Office and get that copyright back, no matter what your contract says.

Now, most creative works don't have a commercial life after 35 years (very few works are commercially viable even after the original US copyright term of 14 years), but for those that do, termination of transfer is a reliable way to address the extremely common situation in which a creator signs away their rights for a low price, not knowing that it will become a lasting hit. Once you've scored that hit, you can probably get a better deal from your next work, but the deal for that hit is done and can't be altered.

Termination solves this. From The Babysitters Club to the early Stephen King novels to George Clinton's entire catalog, termination of transfer has put lots of money into creative workers' pockets at the expense of corporations that ripped them off at the start of their careers.

From the start, there was no question whether termination of transfer would make it into Chokepoint Capitalism. Rebecca is one of the world's leading experts on the subject, having co-authored the definitive study of termination:

https://pluralistic.net/2021/09/26/take-it-back/

In the book, we note that – unlike longer copyright terms – termination has a proven track record of putting groceries on creators' tables, braces on their kids' teeth, and a roof over their heads. We go over the legislative history of termination in the 1976 Act, noting that it was originally supposed to be automatic and kick in after just 20 years. If we want to make creative workers richer, changing the 35-year administrative right into an automatic 20-year termination right is a no-brainer amendment to copyright law.

How did an automatic right that kicked in after 20 years turn into a right you have to apply for after 35 years? Simple: our bosses hate termination. How much do they hate it? Well, take Mitch Glazier, the head of the Recording Industry Association of America, where he draws a $1.3m annual salary to represent the record labels.

Before Glazier got the RIAA gig, he was an obscure Congressional staffer, but he was forced out of the job after he snuck a clause into an otherwise unrelated bill that killed termination of transfer for recording artists. This was so outrageous that Congress actually convened a special session so they could rip out Glazier's amendment, and Glazier got a new job as a millionaire lobbyist for the recording industry:

https://pluralistic.net/2026/03/03/its-a-trap-2/#inheres-at-the-moment-of-fixation

Termination is hugely useful and quite radical. Last year saw Gary K Wolf, creator of the novel Who Censored Roger Rabbit? (later adapted by Disney as Who Framed Roger Rabbit?) claw back his rights to the book and its characters, in order to continue the series:

https://pluralistic.net/2025/11/18/im-not-bad/#im-just-drawn-that-way

In 2023, Bill Willingham terminated the transfer of his wildly successful graphic novel series Fables from DC and released the copyright into the public domain:

https://pluralistic.net/2023/09/15/fairy-use-tales/#sampling-license

And now, Richard Garriott, AKA "Lord British," has claimed back the rights to the groundbreaking Ultima series of computer role-playing games, which he sold to Electronic Arts in 1992:

https://www.videogameschronicle.com/news/richard-garriott-is-officially-regaining-control-of-the-ultima-series/

On the Techjess podcast, Garriott marveled at how easy the process was: "there’s a really weird United States copyright law that says if you are the original holder of a copyright and you assign it or sell it to any publisher or any other entity, after 35 years, you can just take it back":

https://www.youtube.com/watch?v=2El7VtPuSzs

EA killed off Ultima in 2000, and it has languished since, despite an ardent fandom. Garriott has vowed to reissue the old games and is mulling new ones.

All this brings me back to property rights. Property rights are uniquely unsuitable to this kind of arrangement. You don't get to move back into the house your parents sold 35 years ago, and if you did, the photographer who took the family portrait in the hallway wouldn't be allowed to break in and take it away 35 years after you sat for it.

Termination of transfer isn't an "IP right" – it's a labor right. It belongs to the large class of rights that are far more important and useful than mere property rights, such as privacy rights and human rights:

https://pluralistic.net/2026/09/28/cost-of-everything/#value-of-nothing

If copyright were just about property rights, then termination of transfer would be inconceivable. Termination is a vestigial labor right at the very periphery of copyright. It protects artists, and it can only do so because it is not a property right.

This is one of the themes in The Bezzle, my 2024 historical technothriller, starring my two-fisted forensic accountant hero Martin Hench who uses termination to help an artist claw back his rights from an unscrupulous former manager who forged his signature decades before (this plotline is based on the true story of Parliament/Funkadelic's George Clinton!):

https://craphound.com/bezzle/

If you signed away your rights 35 years ago and want to get them back, check out the Authors Alliance, a nonprofit whose advisory board I volunteer for. We produced a tool that automates all the hardest parts of terminating your transfers and getting your rights back:

https://www.authorsalliance.org/resources/termination-of-transfer/

Some of our most ardent fans are academics, whose publicly funded papers are published in journals dominated by a cartel of giant companies that do not pay the authors, nor the editors, nor the reviewers, but still claim all rights and charge the institutions that funded the research they publish tens of thousands of dollars per journal to access that research:

https://pluralistic.net/2024/08/16/the-public-sphere/#not-the-elsevier

But it's not just academics who have an interest in termination of transfer. It's video game authors, novelists, musicians – and maybe you, someday!

(Image: Reda Kerbouche, CC BY-SA 4.0; Thegreenj, CC BY-SA 3.0, modified)

Hey look at this (permalink)


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Object permanence (permalink)

#25yrsago Tourist Guy https://web.archive.org/web/20011009234007/http://www.touristofdeath.com/

#25yrsago Gene Kan on Open Web Services https://web.archive.org/web/20011031234135/http://www.openp2p.com/pub/a/p2p/2001/08/02/openservices.html

#25yrsago Larry Ellison wants to spy on everyone https://web.archive.org/web/20011206002725/http://www.oracle.com/corporate/index.html?digitalid_comp.html

#25yrsago W3C ponders patents in web standards https://lists.w3.org/Archives/Public/www-patentpolicy-comment/2001Oct/1488.html

#25yrsago Adobe updates the ebook reader that Syklarov cracked https://web.archive.org/web/20011107145015/http://www.vnunet.com/News/1126057

#20yrsago Hungarian airport proposes “nonremovable” RFIDs for every passenger http://news.bbc.co.uk/2/hi/technology/6044310.stm

#20yrsago China unblocks Wikipedia, even though it won’t censor https://web.archive.org/web/20061016133232/http://www.editorandpublisher.com/eandp/departments/online/article_display.jsp?vnu_content_id=1003251388

#20yrsago Eudora going open source, to be based on Thunderbird https://web.archive.org/web/20061014163143/http://www.qualcomm.com/press/releases/2006/061011_project_collaboration_mozilla.html

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#15yrsago Vernor Vinge’s Children of the Sky: bootstrapping high-tech civilization from hive-mind Machiavellis https://memex.craphound.com/2011/10/11/vernor-vinges-children-of-the-sky-bootstrapping-high-tech-civilization-from-hive-mind-machiavellis/

#15yrsago Facebook’s misleading “log out” button and the future of privacy legislation https://www.eff.org/deeplinks/2011/10/facebook’s-hotel-california-cross-site-tracking-and-potential-impact-digital-privacy

#15yrsago How online crooks use “work from home” patsies to launder goods and forward them offshore https://krebsonsecurity.com/2011/10/shady-reshipping-centers-exposed-part-i/

#15yrsago Nursery Rhyme Comics: Great comic illustrators do Mother Goose https://memex.craphound.com/2011/10/12/nursery-rhyme-comics-great-comic-illustrators-do-mother-goose/

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#1yrago The curious, intertwined history of climate and digital rights activism https://pluralistic.net/2025/10/11/cyber-rights-now/#better-late-than-never

#1yrago How to fix the UK housing crisis https://pluralistic.net/2025/10/13/castles-not-assets/#steve-keen

Upcoming appearances (permalink)

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Recent appearances (permalink)


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Latest books (permalink)


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Upcoming books (permalink)

  • "The Post-American Internet," a geopolitical sequel of sorts to Enshittification, Farrar, Straus and Giroux, 2027

  • "Unauthorized Bread": a middle-grades graphic novel adapted from my novella about refugees, toasters and DRM, FirstSecond, April 20, 2027

  • "Enshittification, Why Everything Suddenly Got Worse and What to Do About It" (the graphic novel), Firstsecond, 2027

  • "The Memex Method," Farrar, Straus, Giroux, 2027


Colophon (permalink)

Today's top sources:

Currently writing:

  • “Once Is Enemy Action,” a science fiction novel about the origins of modern technofascism. Today's words: 562 (24528 total).

  • "The Post-American Internet," a sequel to "Enshittification," about the better world the rest of us get to have now that Trump has torched America. Fourth draft completed. Submitted to editor.

  • A Little Brother short story about DIY insulin PLANNING

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