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CHONGQING, CHINA - DECEMBER 29: In this photo illustration, a person holds a smartphone displaying the logo of “Claude,” an AI language model by Anthropic, with the company’s logo visible in the background, illustrating the rapid development and adoption of generative AI technologies, on December 29, 2024 in Chongqing, China. Artificial Intelligence (AI) has become a cornerstone of China’s strategic ambitions, with the government aiming to establish the country as a global leader in AI by 2030.
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Anthropic agrees to pay $1.5 billion to authors whose work trained AI in priciest copyright settlement in U.S. history

by admin September 6, 2025



As reported by the New York Times, AI company Anthropic has agreed to a $1.5 billion settlement in a groundbreaking copyright lawsuit involving some 500,000 authors. Anthropic illegally downloaded the authors’ books and used them to train its AI model. The total settlement for this case is the largest for any copyright case in U.S. history, although the payout to each affected author is only $3,000.

The lawsuit, filed in August 2024, accused Anthropic of benefiting from pirated copyrighted books, stating, “An essential component of Anthropic’s business model—and its flagship ‘Claude’ family of large language models (or “LLMs”)—is the largescale theft of copyrighted works.”

It goes on to highlight the harm being done to authors, which goes beyond the theft of their work: “Anthropic’s Claude LLMs compromise authors’ ability to make a living, in that the LLMs allow anyone to generate—automatically and freely (or very cheaply)—texts that writers would otherwise be paid to create and sell. Anthropic’s LLMs, which dilute the commercial market for Plaintiffs’ and the Class’s works, were created without paying writers a cent. Anthropic’s immense success is a direct result of its copyright infringement.”


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As a result of that copyright infringement, Anthropic has offered to pay $1.5 billion to settle the class action lawsuit before it goes to trial. This case sets a standard for the growing wave of copyright lawsuits against AI companies, but it isn’t as clear-cut as it might look. Judge William Alsup of the Northern District of California ruled that Anthropic is allowed to use copyrighted books to train its AI models if it obtains those books legally. The settlement is the result of pirating the books, not feeding them to an AI, which has been ruled “fair use.”

Additionally, the settlement Anthropic offered is a historically high sum, but it’s a miniscule bit of the company’s overall value, which sits at $183 billion at the time of writing. Earlier this week, Anthropic raised more money in a single round of funding than the entire settlement in this copyright case. Meanwhile, the $3,000 for each author impacted by the class action lawsuit is less than a typical book’s advance.

It’s also worth noting that $1.5 billion is actually far less than Anthropic could have potentially been ordered to pay if it hadn’t settled. Willful copyright infringement can result in fines of up to $150,000 per copyrighted work. The pirated data sets Anthropic used contained 7 million books. If Anthropic had been forced to pay the maximum amount for each count of copyright infringement, it could have been financial ruin for the AI company. Of course, the maximum possible fine would have been unlikely, but Anthropic still might have had to pay much more than it settled for.

This lawsuit against Anthropic is just one of several like it. Authors also have ongoing lawsuits with other AI companies, including Microsoft and OpenAI. Back in June, authors lost a similar lawsuit against Meta, but only because the judge ruled that they hadn’t offered enough evidence, stating, “This ruling does not stand for the proposition that Meta’s use of copyrighted materials to train its language models is lawful.”

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September 6, 2025 0 comments
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Anthropic Agrees to Pay Authors at Least $1.5 Billion in AI Copyright Settlement
Gaming Gear

Anthropic Agrees to Pay Authors at Least $1.5 Billion in AI Copyright Settlement

by admin September 5, 2025


Anthropic has agreed to pay at least $1.5 billion to settle a lawsuit brought by a group of book authors alleging copyright infringement, an estimated $3,000 per work. In a court motion on Friday, the plaintiffs emphasized that the terms of the settlement are “critical victories” and that going to trial would have been an “enormous” risk.

This is the first class action settlement centered on AI and copyright in the United States, and the outcome may shape how regulators and creative industries approach the legal debate over generative AI and intellectual property. According to the settlement agreement, the class action will apply to approximately 500,000 works, but that number may go up once the list of pirated materials is finalized. For every additional work, the artificial intelligence company will pay an extra $3,000. Plaintiffs plan to deliver a final list of works to the court by October.

“This landmark settlement far surpasses any other known copyright recovery. It is the first of its kind in the AI era. It will provide meaningful compensation for each class work and sets a precedent requiring AI companies to pay copyright owners. This settlement sends a powerful message to AI companies and creators alike that taking copyrighted works from these pirate websites is wrong,” says colead plaintiffs’ counsel Justin Nelson of Susman Godfrey LLP.

Anthropic is not admitting any wrongdoing or liability. “Today’s settlement, if approved, will resolve the plaintiffs’ remaining legacy claims. We remain committed to developing safe AI systems that help people and organizations extend their capabilities, advance scientific discovery, and solve complex problems,” Anthropic deputy general counsel Aparna Sridhar said in a statement.

The lawsuit, which was originally filed in 2024 in the US District Court for the Northern District of California, was part of a larger ongoing wave of copyright litigation brought against tech companies over the data they used to train artificial intelligence programs. Authors Andrea Bartz, Kirk Wallace Johnson, and Charles Graeber alleged that Anthropic trained its large language models on their work without permission, violating copyright law.

This June, senior district judge William Alsup ruled that Anthropic’s AI training was shielded by the “fair use” doctrine, which allows unauthorized use of copyrighted works under certain conditions. It was a win for the tech company but came with a major caveat. As it gathered materials to train its AI tools, Anthropic had relied on a corpus of books pirated from so-called “shadow libraries,” including the notorious site LibGen, and Alsup determined that the authors should still be able to bring Anthropic to trial in a class action over pirating their work. (Anthropic maintains that it did not actually train its products on the pirated works, instead opting to purchase copies of books.)

“Anthropic downloaded over seven million pirated copies of books, paid nothing, and kept these pirated copies in its library even after deciding it would not use them to train its AI (at all or ever again). Authors argue Anthropic should have paid for these pirated library copies. This order agrees,” Alsup wrote in his summary judgement.



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September 5, 2025 0 comments
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Dragon Age: Origins - Morrigan holds up her hands in exasperation
Gaming Gear

Former Dragon Age producer Mark Darrah agrees that Mages were the most ‘complete’ class in Origins, says it came from D&D rules and the fact that Warriors and Rogues weren’t allowed to ‘violate physics’ yet

by admin August 24, 2025



In response to a viewer question in a 200k subscriber Q&A for his YouTube channel, former BioWare producer Mark Darrah explained why Mages in Dragon Age: Origins were so feature rich or “complete” when compared to Rogues and Warriors.

“I would say it’s more because the design space that Dragon Age: Origins was being built into was heavily influenced by second edition D&D,” said Darrah. Advanced Dungeons & Dragons, or AD&D, formed the basis of the mini RPG golden age of Infinity Engine games started by Baldur’s Gate.

Famously, at the time of its release, Dragon Age was BioWare returning to its roots to make a more tactical, complex RPG like the Forgotten Realms-based duology that put it on the map.


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“The reality is: [Fighters] and Rogues, they were thinner classes. They were simpler classes,” Darrah explained. “And the Mage was the stronger, more fully implemented, more fully considered class. Much more complicated, in terms of spells and such.”

This was something I struggled with coming to Baldur’s Gate after later RPGs like Neverwinter Nights: Feats weren’t really a thing until third edition D&D, cribbing off Fallout’s notes with perks.

Why Mages Shine in Dragon Age Origins #shorts – YouTube

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Fighters and related combat classes in the OG Baldur’s Gates are mostly there to auto attack enemies, the Battlemaster maneuvers and whirlwind attacks of later games just a twinkle in some designer’s eye.

Mages, meanwhile, could summon demons, draw on a host of direct damage and crowd control effects, and even engage with an interactive Wish spell with ironic punishments for poorly worded wishes due to a low Wisdom score. You can see Baldur’s Gate 2’s Throne of Bhaal expansion try to ameliorate this with the addition of “High Level Abilities”—basically feats by another name.

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I’ve always been partial to Rogues in Origins, but you can see who got the most love of the trio: Warriors and Rogues share archery and dual weapon ability trees, with some special dirty tricks and the requisite sneak attacks for Rogues, while Warriors get exclusive access to two-handers and the sword and board setup. Just like in Baldur’s Gate, Mages have a smorgasbord of game-changing spell effects.

But there’s one more factor Darrah points to as well: Origins’ relative realism compared to later entries in the series. “Of all the Dragon Ages, Dragon Age: Origins is the most ‘grounded,'” said Darrah. “It’s the one that’s worrying the most about everything making perfect sense within the overall lore of the game.”

“So Warriors and Rogues in Origins basically don’t have talents or skills that violate physics, whereas, as we move into Dragon Age 2 and Inquisition and Veilguard, you get a lot more things that are not really possible for someone to physically do.”

This is something that always vexed me in Inquisition and Veilguard in particular: Why are Mages so persecuted if basically everyone has godlike magical abilities now? Assassins get flash step shadow clones, Reavers have fire blood dragon claws, Champions in Veilguard can do AoE fire magic spellsword stuff. Everybody’s a super hero.

It’s certainly fun and feels very cool to do wild Tempest elemental stuff in Inquisition or poison Duelist flurry attacks in Veilguard, but I found it contributed to this flattening effect on the class fantasies. Things might have been unbalanced in Origins, but it made Mages feel special in a fiction where they were supposed to be incredibly powerful.



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August 24, 2025 0 comments
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"With the waves of layoffs, the way that people are overworked, everyone agrees that there is a systemic problem"
Esports

With the waves of layoffs, the way that people are overworked, everyone agrees that there is a systemic problem

by admin August 21, 2025


Within the past few years, there has been a massive rise in unionisation within the video games industry. What was once conversation and wishful thinking has now been cemented into action.

There are now video game unions around the world. Some notable victories in recent memory come from the United States, where bargaining units have been formed at the likes of Raven Software, ZeniMax, and Blizzard. Meanwhile, in June, workers at Ubisoft Halifax in Canada voted to unionise.

In the United Kingdom, there are a few unions that represent those in the games industry, including branches at the creatives’ union BECTU and the performers’ union Equity. But probably the most prominent is the Game Workers branch of the Independent Workers of Great Britain (IWGB) union, formed back in December 2018.

At the last official count, the union was around 1,500 strong, and is seeing consistent growth in its membership each month.

So far, the organisation doesn’t have any big victories under its belt – there are no unionised workforces within the UK games industry at the time of writing. Despite this, there are conversations happening, and the dialogue about unionisation around the world has been becoming louder for a few different reasons.

Crunch talks

“About six or seven years ago was around when we started to see a lot of conversations about the realities of crunch in the industry and the effect that was having on people,” explains Spring McParlinJones, chair of the IWGB Game Workers Union.

“Combined with the fact that, as a wider society, we had the cultural moments of Jeremy Corbyn’s 2017 election campaign and Bernie Sanders in America, we saw a wider discussion of leftist politics in society. That really set the stage for a serious discussion of unionising the games industry for the first time in its existence.”

“The industry as it is structured at the moment is not sustainable”

Spring McParlinJones, IWGB Game Workers Union

IWGB Game Workers Union secretary John Paul Donnelly adds: “The more game workers grow as a community and interact with each other, the more they share more about their conditions and things. We slowly break down those very isolated groups.”

The conversation about crunch and working conditions within the games industry certainly got the ball rolling in terms of unionisation. But the relentless waves of layoffs, studio closures, and project cancellations we have seen within the past few years have given the movement some real momentum.

“You can ask anyone in the industry, and they will agree that the industry as it is structured at the moment is not sustainable,” McParlinJones says. “With the waves of layoffs, the way that people are overworked, everyone agrees that there is a systemic problem. And no one seems to have a solution.

Spring McParlinJones

“I think everyone agrees that it seems like a lot of wealth is moving up towards the executives and shareholders; even people who aren’t very sympathetic to the idea of unionising probably agree with that point initially.

“The case for unionisation is that if we want this to change, we have to change it ourselves. We have to force the executives’ hands to provide fairer treatment and give workers a say in how the companies that we work for are run and the games that we make are made.

“Realistically, for the workers to have leverage in that discussion, we have to come together and engage in collective action. History has shown that the best way to do that is through unionisation.”

What’s the hold up?

Given the current state of the games industry, the argument for unionisation does make a lot of sense – which begs the question why there aren’t bargaining units left and right within the space. What’s stopping workers in the UK games industry from uniting?

“That’s the million-dollar question,” McParlinJones says. “There’s an undercurrent of individualism that kind of runs through a lot of the tech industry. It’s very difficult to convince someone to join a collective union or join a group fighting for better treatment collectively when they’re so convinced that their big break is just around the corner.

“In addition to that, a lot of people don’t know that the union exists, or how we operate or what we’re doing. We’re trying to get the word out there a bit more that we exist, that we’re fighting for better treatment for work in the industry. So far, we are winning. We’ve been doing a lot of really good work so far. It’s just a matter of getting the word out.”

Unions find themselves fighting against the tide of decades of established anti-union neoliberalist thinking – but Donnelly says simple conversations are the key to convincing people.

John Paul Donnelly

“The main thing we do to begin the process would be just chatting,” Donnelly says. “We’re quite big advocates for the sense of community. One way of taking away that fear that unions are a bad thing is actually just sitting down with the person next to you – someone that understands what you might have gone through day-to-day – and just asking them if they want to come along to an event and hear what we have to say and get to know each other.

“That’s most of the battle, once you realise that these guys are my team members. That’s probably most of the way there.”

At the moment, IWGB’s games arm is helping out workers at studios across the UK. This includes staff affected by layoffs, but also other work-related disputes.

“There’s a situation that has come up where people have been affected by forced return-to-office orders and they physically cannot go into the office because they’ve relocated or they were assured when they were hired that that would never happen,” McParlinJones explains.

“We’re ensuring they are being treated fairly and they are not being forced to do something that’s unrealistic for them. There are a lot of things happening at the moment and a lot of different studios that we are helping out, both in big and small ways.”

Anti-union sentiment

Despite the benefits that a union offers, there are detractors. Certainly, in the UK media, we have seen hostile coverage of striking workforces in recent years, be they rail workers or doctors and nurses.

“We’ve seen a sort of dehumanisation of workers,” McParlinJones says. “And the average person finds it much easier to relate to the person whose day has been interrupted by rail strikes than the rail workers who are striking.

“Part of that is because most people aren’t in unions these days. They don’t know what striking workers are asking for, but they know how it feels like having a late train, and they fall back on that.

“A lot of people have this bias against unions, but it’s something that dissolves very quickly. It’s very easy to sit someone down and have a conversation with them about what the doctors or the rail workers are actually asking for and explaining why they are doing what they are doing.

“Once people know the realities of what the workers are asking for and the fact that, at the end of the day, those workers have a lot in common with them, it’s an easy myth to dispel.”

Donnelly thinks that starting conversations is the key | Image credit: IWGB Game Workers Union

The traditional narrative when it comes to unions and unionised workforces is that they are outwardly hostile to employers. This isn’t the approach that the IWGB Game Workers Union wants to take, not least because it believes everyone is working towards the same goal.

“The classic old-school union thinking is that [employers] are the enemy in a weird way; we don’t approach them like that,” McParlinJones says. “The way I think about it is that we all want the same thing: we all want these companies to succeed. We all want better pay and for games to do well.

“Anti-union bias still exists, and a lot of the management teams we have encountered are very unsure about unions. They are very anxious about what a unionised workplace might look like.

“The wins we’ve managed so far have shown that when a workplace unionises, it helps everyone. It leads to a better work environment for everyone involved. That’s my view at least.”

Unsustainable losses

One indication that there needs to be a better and fairer accord between labour and capital is the churn the games industry sees. The waves of layoffs in recent years are disruptive and hugely damaging to those involved – but they are also actively harmful to the industry as a whole.

“Obviously, [the layoffs] just are not sustainable,” McParlinJones explains.

“We’re seeing people leaving the industry at an incredibly alarming rate. When I joined the games industry, something that really shocked me was that people are really young here – the reason that’s the case is that people leave this industry at a very alarming rate.

“We’re seeing so much talent leaving the industry because of these layoffs, because of the difficulty people face searching for jobs and how few roles are available.”

“Games is a very passion-driven industry, which has been exploited to make profit”

John Paul Donnelly, IWGB Game Workers Union

While the IWGB Game Workers Union hasn’t had a landmark victory just yet, the union is pushing for greater representation of workers. One such push was against the newly formed UK Video Games Council, which the organisation felt did not accurately represent the entirety of the UK industry.

“Our first assessment was that this is all execs and people who are predominantly based in London and the South East,” McParlinJones explains. “We’re also trying to push for more representation of workers and people from different backgrounds in spaces like that and ensuring more people are being heard when we talk about the industry.”

Despite the dark days the games industry is enduring at the moment, the IWGB Game Workers Union is optimistic about the future of the union.

“I feel really positively about it,” Donnelly says. “People are educating themselves about their position as employees and they’re not willing to accept the gutting of the industry. Games is a very passion-driven industry, which has been exploited to make profit. We may have reached the point where the passion takes over and people will fight.

“More and more you hear more people standing up, and even if they’re not informed about unions, they will be critical of the state of the industry.”

In short, he sees that things are changing. “The next few years are going to be pretty massive for IWGB Game Workers Union,” he concludes.



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August 21, 2025 0 comments
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