Music

Nintendo takes on music-focused YouTube channel with over 500 copyright strikes – GeekWire

Nintendo takes on music-focused YouTube channel with over 500 copyright strikes – GeekWire

DeoxysPrime YouTube channel homepage.

The owner of a Canadian YouTube channel focused on video game soundtracks reports that he received more than 500 copyright strikes from Nintendo of America, forcing him to take down all videos containing music from Nintendo video games.

This is Nintendo’s second major withdrawal from YouTube this year. While this is well within Nintendo’s rights as the copyright holder of the music in its games, it’s also another particular example of a company absolutely refusing to engage with its audience.

The DeoxysPrime channel was created in 2010 and has 165,000 subscribers as of Tuesday morning. It primarily focuses on hosting video game music, with a strong emphasis on sonic the hedgehog series.

DeoxysPrime took to Twitter on Sunday to announce the deletion. The story was then picked up by the video game press on Tuesday morning, starting with video game chronicle.

“I have no intention of deleting my channel,” DeoxysPrime wrote, “and the rest of my non-Nintendo soundtracks will remain in place for the foreseeable future.”

This was DeoxysPrime’s second encounter with Nintendo, as the channel had previously been hit in 2019 for hosted music from Nintendo-exclusive games such as Splatoon 2, Xenoblade Chronicles, and Bayonet 2.

Nintendo has already struck another channel, GilvaSunner, with over 1,300 copyright strikes in January. The channel then shut down, as did the social media accounts associated with it.

There is a large market, both official and unofficial, for video game soundtracks. Many game publishers and developers release official music through online services like Spotify and Bandcamp, or go so far as to print limited-edition collectibles like large format vinyl records.

DeoxysPrime is just one of many YouTubers who repost official game soundtracks on the platform, whether it’s a reproduction of an official release, a ripped file from the game itself, of a remix, a cover version or whatever. even more mysterious than that.

There have been an ongoing battle for quite a while in the indie or self-publishing space, where a quirk in YouTube’s systems doesn’t handle game soundtracks the same as other professionally released music, unofficially encouraging video creators to use game tracks for their content.

Even so, most large companies seem willing to tolerate unofficial archives on sites like YouTube, if not encourage them.

Nintendo, on the other hand, is unusual, if not quite unique, in that it barely serves this market. He has released a handful of official soundtrack albums over the years, but they are rarely available outside of Japan. The most recent Nintendo music compilation to receive a Western release appears to have been History of Super Mario 1985-2010, and it was a pack-in disc for the Wii game Super Mario All-Stars Limited Edition in 2010.

Additionally, Nintendo has yet to make its music officially available on modern streaming platforms. Although you can find a few Nintendo tracks on Spotify at the time of writing, these are all individual selections from The best video game music, a 2011 cover album by the London Philharmonic Orchestra. There is also a fairly popular scene for covers and remixes.

(There is an “Official Nintendo” page on Soundcloud, but I have my doubts whether it’s Actually official.)

For comparison, Spotify also hosts full soundtrack albums for games like Halo, Stardew Valley, Celeste, The Last of Us, The Witcher III, Skyrim, and Horizon: West forbidden, made available directly from their respective publishers and/or composers. Nintendo may not be alone in resisting here, but it’s hard to find another AAA developer in 2022 that maintains this sort of legal hammer on its music library.

Nintendo has traditionally been aggressive in the protection of its intellectual property. In recent days, however, it has increasingly been viewed by fans, collectors, and historians as leaving money on the table at best, and actively hostile to preservation efforts at worst.